Guide to African Rhythms

Guide to ASCII Notation
For ASCII notation to align correctly, you MUST

use a MONOSPACED font when viewing or printing these files.
Examples of monospaced fonts: Courier, Courier New, and Monaco.
Please keep in mind that traditional West African rhythms are transmitted
orally.
ASCII or other notation can be a useful tool, but it has limits.
Notation cannot accurately portray swing, "micro-timing", or feeling.
Do not confuse musical notation with music.
Also, there can be many regional and village variations of each rhythm.
The notation here is not "definitive"; rather, they are representations
of what I have learned from my teachers and from published sources.
T Tone
O Tone
S Slap
B Bass
M Slap Muff (Closed Slap)
. Rest (no note)
$ Slap Flam
@ Tone Flam
& Bass/Slap flam
% Tone/Slap flam
>> Continued
^ under a note indicates where the part start
(e.g., could start before the end of the break)
O or B open dunnun note
C or M closed dunnun note
x bell stroke
Note: In some cases, upper- and lower-case letters are used:
T means tone with the Dominant Hand; t means tone with the nondominant hand
The "Beat"
The time is indicated at the top:
4/4: 1 . . . 2 . . . 3 . . . 4 . . .
12/8: 1 . . 2 . . 3 . . 4 . .
9/8: 1 . . 2 . . 3 . .
The "One"
The concept of "Where is the one?" is a Western one.
Hand parts can be heard in different ways.
Example: the common hand part
1 . . . 2 . . .
S . . S S . T T
.. teachers will often "say" this:
S S . T T S . . without reference to the "1"
BELL PATTERNS
4/4 Bell Patterns
One Bar
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . X . . X . . X .
Son Clave (3-2)

4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . . . X . X . . .
Rumba Clave (3-2)

4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . . X . . X . X . . .
Son Clave (2-3)

4/4 |: . * . * . * . | . * . * . * . :|
BELL . . X . X . . . X . . X . . X .
Rumba Clave (2-3)

4/4 |: . * . * . * . | . * . * . * . :|
BELL . . X . X . . . X . . X . . . X
Cuban (rumba) #1
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X X . . X . . X . X . . .
Brazil
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . . . X . . X . .
Nigeria (juju)
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X X . . X . X . . .
Haiti (Ibo, Congo)

4/4 |: . * . * . * . | . * . * . * . :|
BELL X X . X X . X . X . X . X . X .
Cuban (Yesa)
4/4 |: . * . * . * . | . * . * . * . :|
BELL . X . X . . X X . . X X . . X X
Cascara
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H H . H . H H . H . H H . L
Cascara alternate
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . X X X . X X X . X X X . X XX X . X X
Samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L L . H . H . H L . L .
Samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO
H . L L . H . H . . . L L . H . >>
H . L L L H . H . . . L L . H .
Garden variety ago-go pattern for Samba in 2/3 arrangement
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . H . L L . H . H H . L .
Extra cool Samba Batucada pattern in 3/2 #1

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . H H . L L L . H H H . L L
Extra cool Samba Batucada pattern in 3/2 #2

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . H H . L . L . H . H . L L
Samba do Morro pattern built around Partido Alto in 2/3

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . L L . L . H . L L . L .
The very famous Partido Alto that one hears all the time
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . . L . L . H . . L . L .
Another 2/3 Samba

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . L . L L . H H H . L L . H .
Samba da Rua pattern in 2/3

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . L . H H . L . L . L . H H .
miscellaneous 2/3 samba #1

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . L . . H . H . L . L L . H .

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L . . H . H . L . H . L

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . H H . H . H . H H . L .

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . . H H . . L L . H . H . . L
The extra-cool Samba de Roda pattern from Bahia

4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H H . H . H . H . H . H H .
unnamed samba #1
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . L L . H H H . L L L . H H
unnamed samba #2
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . H . L L . H . H . L . L .
2-bar samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO
H . L L L . H H . L . L L . H H >>
H H . L L . H H . L . L L . H H
Afoxe
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . H . H L . H . H . H . L .
Ijexa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L . L . H H . L . L L .
Ijexa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . L . L L . H . H . L . L .
Ijexa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . . H H H . L L . H . L . L L .
Ijexa variation #1
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . L . L L . H . H . L . L L
Ijexa variation #2
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . L . . L . . . H . L . . L
Ijexa variation #3
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . H . H H . H . L L L . L L
Ijexa variation #4
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H L L . L L . H L L L L . L L
Mambo
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H H L . H H L . H . L . H H
Comparsa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L L . . H H . . L . H L
Gahu
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . . . X . . . X .
Haitian
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . X . . . . . . .
Ghana
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . X . X . X . X . . X . X . .
12/8 (6/8) Bell Patterns

6/8 Short Bell
12/8 |: . . * . . * . . * . . :|
BELL X . X . X X . X . X . X
6/8 Long Bell

12/8 |: . . * . . * . . * . . :|
BELL X . X . X . X X . X . X
Abakua
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . X . X . . . >>
X . X . . . X . . . X .
Haiti
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . X . . . >>
X . X . . . X . . . X .
Ghana
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . X . . . >>
. . X . . . X . . . . .
Cuban (bakoso)
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . X . X . >>
. . X . . . X . . . X .
Cuban (rumba)
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . . . X . >>
. . X . . . X . . . . .
Cuban (palo)
12/8 |: . . * . . * . . * . . :|
BELL . . X . X . . . X . X . >>
. . X . . . X . . . X .
Badugu
Played at fast tempo.
SOURCE: MADOU
1 . . 2 . . 3 . . 4 . .
Break @ . T t . T t . T t . .
Sangba/Dun D . D . . S D . D . . S
^
Kenkeni K . . K . . K . . K . .
Djembe 1 T . S b . . T . S b . .
Djembe 1 var T . S b S s T . S b . .
Djembe 2 $ . . $ . . B . s B . . >>
@ . . $ . . B . s B . .
Djembe 3 T . t T . s S . s S . s
Djabara
Rhythm used to greet people to the village.

Bambara word for shekere.
Wassalon region.
Timeline 1 . . 2 . . 3 . . 4 . .
INTRODUCTION
Jembe 1 SsS s . T . t . S s . s >>

S . . . . s S . S s . .
Jembe 2 . . . . . . . . S s . s >>
S . . . . s S . S s . .
Kenkeni . . . . . . . . B B . B >>
B . . . . B B . B B . .
Bell . . . . . . . . x x . x >>
Sangba/Dun . . . . . . . . B B . B
x . . . . x x . x x . x
B . . . . B B . B B . B
PARTS
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe 1 T s . b S . T s . b S .
Jembe 2 S . T t . . S . T t . .
Timeline 1 . . 2 . . 3 . . 4 . .
Kenkeni M . . B B . M . . B B .
Bell x . x . x . x . x x . x
Sangba B . M . M . M . B B . B
Bell x . x x . x x . x x . x
Dununba B . . . . . B . . . . .
DJABARA SOLO
Yves Goulnik
(lower-case = weak-hand)
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
12/8 |:. . * . . * . . * . . * . . * . . * . . * . .:|
B . . B . . B . b SsS s S . . B . . B . . B . o >>
O . . B . . B . b SsS s S . . B . . B . . B . s >>
S . . B . . B . b SsS s S . . B . . B . . B . o >>
O . . B . . B . b SsS s S . . B . . B . . B . s >>
S . . B . . B . b SsS s S . . B . . B . b SsS s >>
S . b SsS s S . b SsS s S . b SsS s S . . S . b >>
|>xx<| = |>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
duple time|>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
|>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
|>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
|>SoOsOoSsS<| . . B . b |>SoOsOoSsS>| . . B . b >>
|>SoOsOoSsS<| . . B . b |>SoOsOoSsS>| . . B . b >>
|>SoOsOoS<| |>SoOsOoS<| |>SoOsOoS<| |>SoOsOoS<| >>
(to DJABARA break)
DJOLE
From Raymond's Transcriptions
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 B . T t B . S s B . T t B . S s
Djembe #2 B . . t T . . . B . . . T t T t
T . . t T . . . B . . . T . . .
Sangba
1 - - - 2 - - - 3 - - - 4 - - -
bell x . x . x . x . x . x . x . x .
drum i . . . o . . . i . . . o . . .
Sangban (alternate)
1 - - - 2 - - - 3 - - - 4 - - -
bell x . x x x . x . x . x . x . x .
drum i . . o o . . . i . . . o . o .
bell x . x x x . x . x . x . x . x .
drum o . . o o . . . i . . . o . . .
1 - - - 2 - - - 3 - - - 4 - - -
Kenkeni (hard)
bell . x x x . x x x . x x x . x x x
drum . . o o . . o o . . o o . . o o
Kenkeni (variation)
1 - - - 2 - - - 3 - - - 4 - - -
bell x . x x x . x x x . x x x . x x
drum . . o o . . o o . . o o . . o o
Kenkeni (easy)
1 - - - 2 - - - 3 - - - 4 - - -
bell x . . . x . . . x . . . x . . .
drum . . o o . . o o . . o o . . o o
Dununba
1 - - - 2 - - - 3 - - - 4 - - -
bell x . x . x . x . x . x . x . x .
drum o . . . . . . . o . o . . . . .
Dunungbe
Original Dununba Rhythm
13th Century
Source: Mamady Keita and others
^ - Begin
1 . . 2 . . 3 . . 4 . .
Intro Break S s T s S s . . . . . .
1 . . 2 . . 3 . . 4 . .
Djembe 1 S . t S . . S . t S . .
Djembe 2 S . . s T t S . . s T t
or . . S . t S . . S . t S
1 . . 2 . . 3 . . 4 . .
Easy Bell x . . x . . x . . x . .
Alt Bell x . x . x . x . x . x .
Real Bell . x x . x x . x x . x x
Kenkeni . . B . B B . . B . B B
1 . . 2 . . . 3 . 4 . .
Easy Bell x . . x . . . x . x . .
Alt Bell x . x . . x . x x . x .
Bell . x x . x x x . x . x x
Dununba . . . . B . . . B . B B
^
1 . . 2 . . 3 . . 4 . .
Sangba M . . . . . . . B . . . >>
^
M . . . . . . . B B . .
1 . . 2 . . 3 . . 4 . .
Break Phrase S s T s S s . . . . . .
Break Phrase S s T s S s . . . . . . >>

. . . . . . . . . . . . >>
T s S t S s T s S t S s >>
T s S t S s T s S S . . >>
SsS s S . TtT t T . $ . >>
. . . . . . . . . . . . >>
S s T s S s . . . . . .
End Break T s S t S s T s S t S s >>

T s S t S s T s S S . . >>
@ . T t . T t . T t . . >>
$
Enchauffement
Common Enchauffement in 4
1 . . . 2 . . . 3 . . . 4 . . .
T T S S S S S S S S S S S S S S >>
T T S S S S S S S S S S S . . . >> to Break
@ . T T . T . T T . S S S . . . >>
$
Common Enchauffement in 3
1 . . 2 . . 3 . . 4 . .
T S S T S S T S S T S S >>
T S S T S S T S S S . . >> to Break
@ . T T . T T . T T . . >>
$
COOL ENDING (2003 MADOU DEMBELE)

1 . . . 2 . . . 3 . . . 4 . . .
S S T T S S T T S S T T S . . . >>
S . S S . S T T S . S . S . . . >>
S . . B . . . . S . B . B . . . >>
S S T T S S T T S S T T S . . . >>
S . S S . S T T S . S . S . . . >>
S . . B . . . . S . B . B . . . >>
S . . B . . . . S . B . B . . S >>
S . . . . . . B S . S . S S . S >>
S . T T S T T S . . T T S . . . >>
B B B B
FANKANI
Celebration and welcoming rhythm heard during weddings, baptisms,
and festivals.
Source Recording: Mamady Keita, WASSOLON, cut # 3 - Fankani
Notation (Mamady Keita):
Break: 1 . . . 2 . . . 3 . . . 4 . . .
@ . T t . t . t T . S s S . . .
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 S . . s S . B . S . T t S . B .
Djembe #2 S . . s S . T t S . . s S . T t
1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni x x . x x . x . x x . x x . x .
B B . . M . . . B B . . M . . .
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Sangba x . x x . x x . x . x x . x x . x . x x . x x . x . x x . x x .
. . . . . . B . B . B B . . M . . . . . . . M . . . B B . . M .
^
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Dununba x . x x . x x . x . x x . x x . x . x x . x x . x . x x . x x .
. . . . . . . . . . . . . . B . . . . . . . B . . . . . . . B .
^
An Intro (Beverly Botsford)
1 . . . 2 . . . 3 . . . 4 . . .
$ . S S S . S S S . . . . . . . >>
S . $ . . . S . $ . . . B . . . >>
S . $ . . . S . $ . . . B . . . >>
T T . T . T . T T . S S S . . . >>
T S . T . T . T S . . . . . . .
Foura - Celebration. Source: Madou Dembele
Jembe 1
1 . . . 2 . . . 3 . . . 4 . . .
S T T S S . . B S . B . S . . B >>
S T T S S . T T S . B . S . . B
^
Jembe 2
1 . . . 2 . . . 3 . . . 4 . . .
T . T T . . S . . . B S B . S . >>
. . T T . . S . . . B S B . S B
Ballet Duns (simple)

1 . . . 2 . . . 3 . . . 4 . . .
S . . . S . . . S . D . S . . .
DUN Variations
1 . . . 2 . . . 3 . . . 4 . . .
B . B B B . B B B . B B B . . B
^
B . B . B . . . B . . . B . . B
^
. B B . B . . . B . . . B . B B
Kenkeni . . K K . . . . . . K K . . . .
Sangba . B . B . . . M . B . B . . . M
Generic 4/4 Break: Source: Mali Young Guns

1 . . . 2 . . . 3 . . . 4 . . .
B B S T T S B B S T T S B . B . >>
S S S S . . . . . . $ . . . . B >> Duns play S from here on.
S S S S . . . . @ . $ . $ . . B >>
S S S S . B S S S S . . $ . . . >> Duns play $ here as well
FUNGA
Timeline: 1 . . . 2 . . . 3 . . . 4 . . .
Break:
Lead $ . S s . S s . @ . T t . T t .
All $ . S s . S s . @ . T t . T t .
Timeline: 1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 B . . t . T t . B . B . T t . .
Djembe 2 B . B b . . T t B . B . B . T t
Djembe 3 T t . . T t . . T t . . T t . .
or S s . . S s . . S s . . S s . .
Other Parts
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 4 B . B b . T t . B . B b B t T .
Djembe 5 B . B . T t . . B . T t . . . .
Many other parts out there...
1 . . . 2 . . . 3 . . . 4 . . .
Bell . . X X . . X X . . X X . . X X
Dununba B . . . M . . . B . B . M . . .
Garanke (Garankefoli, Garangedon)
Rhythm of the leather worker.
Break 1 . . 2 . . 3 . . 4 . .
@ . T t . T t . T t . .
1 . . 2 . . 3 . . 4 . .
Jembe 1 S . T s . b S . T s . b
^
Jembe 2 1 . . 2 . . 3 . . 4 . .
B . S . . s . . S . . s >>
B . S t T s T t S . . s
^
Into phrase:
Jembe 2 1 . . 2 . . 3 . . 4 . .
b B . s S . t T . s S . b >>
B . t T . t T . s S . b >>
B . s S . t T . s S . b >>
B . S t T s T t S s . b >> repeat, then back to part
Sangba 1 . . 2 . . 3 . . 4 . .
x . x x . x x . x x . x
B . M . . B . . M . . B
^
Kenkeni 1 . . 2 . . 3 . . 4 . .
x . x x . x x . x x . x
. . B B . . . . B B . .
Variation 1 . . 2 . . 3 . . 4 . .
. . B B . . . . B . . .
Dununba 1 . . 2 . . 3 . . 4 . .
B . B B . . . . B B . B >>
B . B B . . . . . . . B
^
Variation 1 . . 2 . . 3 . . 4 . .
B . B B . . . . . B . . >>
B . B . . . . . . . . .
Variation 1 . . 2 . . 3 . . 4 . .
B . B . B B . . . . . B >>
B . . . . . . . . . . .
Gbegbe
Rhythm played at funerals.
1 . . 2 . . 3 . . 4 . .
Jembe B . . b T t B . . b T t
Jembe B t T b . . B t T b . .
1 . . 2 . . 3 . . 4 . .
Dun/
Sangba L . H H . H . H . H H . >> L - Dun, H - Sangba
H . H H . H . H . H H .
jembe variation
1 . . 2 . . 3 . . 4 . .
B . . b T t B . . b T t >>
B . . b T t B s S b T t
Advanced jembe part
1 . . 2 . . 3 . . 4 . .
Jembe bT. t B s S b T t B . S
Djabge Solo 4/4
1 . . . 2 . . . 3 . . . 4 . . .
S . . . B . . . . S T T S S . S >>
S . . . B . . . . S T T S S . S >>
S . . . B . . . . S T T S S . S >>
S . . . B . . . . S T T S S . S >>
S . . . B . . . . S T T S S . S >>
1 . . . 2 . . . 3 . . . 4 . . .
S S T T S S S . . S T T S S . S >>
S S T T S S S . . S T T S S . S >>
S S T T S S S . . S T T S S . S >>
S S T T S S S . . S T T S S . S >>
1 . . . 2 . . . 3 . . . 4 . . .
. S . S . S . S . S . S . S . S >>
. S . S . S . @ T T S S S . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
S S . . S S . . S S T . T T . . >>
S S . . S S . . S S T . T T . . >>
S S . . S S . . S S T . T T . . >>
S S . . S S . . S S T . T T . . >>
1 . . . 2 . . . 3 . . . 4 . . .
. $ . $ . $ . @ T T S S S . . . >>
. . . . . . . . . . . . . . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
B . . T . S T T S . S . S . . . >>
. . . . . . . . . . . . . . . . >>
B . . T . S T T S . S . S . . . >>
B . . T . S T T S . S . S . . . >>
B . . T . S T T S . S . S . . . >>
B . . T . S T T S . S . S . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
S S . . S S . . S S T . T T . . >>
B . . T . S T T S . S . S . . . >>
S S . . S S . . S S T . T T . . >>
B . . T . S T T S . S . S . . . >>
S S . . S S . . S S T . T T . . >>
B . . T . S T T S . S . S . . . >>
S S . . S S . . S S T . T T . . >>
B . . T . S T T S . S . S . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
S S @ . S S @ . S S @ . S S @ . >>
$ . . . $ . . . $ . . . $ . . . >>
$ . . . $ . . . $ . . . $ . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
T . T . . S . . T . T . . S . . >>
$ . . . $ . . . $ . . . $ . . . >>
T . T . . S . . T . T . . S . . >>
$ . . . $ . . . $ . . . $ . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
T T . S S . T T . S S . S . . . >>
. . . . B . . . B . T T S S . S >>
. . . . B . . . B . T T S S . S >>
. . . . B . . . B . T T S S . S >>
. . . . B . . . B . T T S S . S >>
. . . . B . . . B . T T S S . S >>
1 . . . 2 . . . 3 . . . 4 . . .
. . @ T S S . S . . @ T S S . S >>
S . S S . S S . @ T S S S . . . >>
. . . . . . . . . . . . . . . . >>
. . . . . . . . . T T S S S S S >>
S T T S S S S S S T T S S S S S >>
T S S S T S S S T S S S S . . . >>
$ S . S . S . S S . S . S . . .
JANSA (DANSA, DIANSA)
Madou Dembele's Version One
Taken from St. Louis workshop, 1999; Fairfield, 1999, and Des Moines, 2000.
INTRO: CALL AND RESPONSE (BASSES)

1 - - - 2 - - - 3 - - - 4 - - -
Djembes S t T s T t S . B . b . B . . . >>
S . . . S . . . B . b . B . . . >> (repeat)
S t T s T t S . B . b . B . TtT >>
t . . t S . s . B . b . B . TtT >>
t . . t S . s . B . b . B . . . >>
B b . B . b . B b . B . b . . . >> into parts:
Dununba . . . . . . . . O . O . O . . .
Repeat until last phrase >>
O O . O . O . O O . O . O . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 bS . S s B t T .bS . S s B . . . (Note: bS played together)
Additional Parts:
Djembe #3 b . T t . . S . b . T t . . S .
^
Djembe #4 S . . b S . b . S . T t S . b . (Part in St. Louis)
Djembe #5 S . S . S s . . B . . . B . . . (2003 - "Tastes like chicken")
1 - - - 2 - - - 3 - - - 4 - - -
Sangba B . . B . . B . . . M . . . B .
Kenkeni B . . . . B B . B . . . . B B .
Dununba B . . . . . . . M . . . B B . . >>
B B B . . . . . M . . . . . . .
Variation M . . B . B . B . B . B . B . B >>
. B . B . B . B . B . B . B . B
Dununba B . . . . . . . M . . . B B . B >>
. B . . . . . . B . B . . . . .
Duns (2000)
COMBINE 1 - - - 2 - - - 3 - - - 4 - - -
B . . K S . K . S . K . B B . B
BREAK/END
REPEAT INTRO BREAK: FAST, THEN:
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 B . T t . . S . B . T t . . S .
^
Other parts 1 . . . 2 . . . 3 . . . 4 . . .
Djembe T t S s . b S s T t S S . b S s
Djembe S s . s S . T t S . B . S b T t
New Ending 1 . . . 2 . . . 3 . . . 4 . . .
END BREAK @ . T t . T . T t . T . S s S s >>
S . . . B . . S . . B s B b T B >>
B
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 B . T t . . S . B . . . S s S s >>
S . . . B . . S . . B s B b T B >>
B
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #2 S . . s S . T t S . . s S s S s >>
S . . . B . . S . . B s B b T B >>
B
JANSA SOLO - MAMADY (VIDEO) - APPROXIMATION ONLY
1 . . . 2 . . . 3 . . . 4 . . .
B T S S T T S S B T S S T T S S >> 4-6 TIMES
S S . . . . . B S S S . . . . B >> 4-6 TIMES
T T S S . . . . T T S S S . . . T T >> 4-6 TIMES
S S . T T S T T S T T S T T S B >>
S S . . . . . B S S S . . . . B >> 4-6 TIMES
S S . TTTS--TTTS--TTTS--TTTS B >>
S S . . . . . B S S S . . . . B >> 4-6 TIMES
T T S S S S S S S S S S S S S S >> 4-6 TIMES
T T S S S S S S S S S S S S . . >> BREAK
JANSA SOLO -
1 . . . 2 . . . 3 . . . 4 . . .
B t S s T t S s B t S s T t S s >> 2-4 TIMES
S s . . . . . b S . T . S . . b >>
S . S s . b S . S S . . tTtT. t >> 4-
6 TIMES
variation S s . . . b S . T . S . . b S .
S s . . . b S . S S . . tTtT. t >> 4-6 TIMES
S s . s S . S s . s S . tTtT. t >> 4-6 TIMES
last time, no final t
@ . T t . t . t T . T . T t . . BREAK
Jansa Long Intro
1 . . . 2 . . . 3 . . . 4 . . .
jembe $ . T t . $ . T t . $ . T t . . >>
$ . T t . . . b B . B . B b . . >>
$ . T t . $ . T t . $ . T t . . >>
$ . T t . . . b B . B . B b . . >>
1 . . . 2 . . . 3 . . . 4 . . .
duns S . B B . S . B B . S . B B . . >>
S . B B . . . B B . B . B B . . >>
S . B B . S . B B . S . B B . . >>
S . B B . . . B B . B . B B . . >>
----------------------------------------------
1 . . . 2 . . . 3 . . . 4 . . .
jembe S . s S . s T t S . s S . s T t >>
S . s S . s . b B . B . B b . . >>
S . s S . s T t S . s S . s T t >>
S . s S . s . b B . B . B b . . >>
1 . . . 2 . . . 3 . . . 4 . . .
duns S . . . . . B . S . . . . . B . >>
S . . . . . . B B . B . B B . . >>
S . . . . . B . S . . . . . B . >>
S . . . . . . B B . B . B B . . >>
----------------------------------------------
1 . . . 2 . . . 3 . . . 4 . . .
jembe $ . T t . . . b B . B . B b . . >>
$ . T t . . . b B . B . B b . . >>
duns S . B B . . . B B . B . B B . . >>
S . B B . . . B B . B . B B . . >>
----------------------------------------------
1 . . . 2 . . . 3 . . . 4 . . .
jembe . . . S . s S . . . . T . t T . >> ‘hey’ on empty beats for timing
. . . S . S . b S t B s S b S s >>
B . . S . s S . . . . T . t T . >>
. . . S . S . b S t B s S b S s >>
1 . . . 2 . . . 3 . . . 4 . . .
duns . . . S . S S . . . . B . B B . >>
. . . S . S . B S . B S . B S . >>
B . . S . S S . . . . B . B B . >>
. . . S . S . B S . B S . B S . >>
----------------------------------------------
1 . . . 2 . . . 3 . . . 4 . . .
jembe B . . t T t . . M . . . M . . . >>
M . . t T t . b S t B s S b S s >>
B . . t T t . . M . . . M . . . >>
M . . t T t . b S t B s S b S s >>
B . . t T t . . M . . . M . . . >>
M . . t T t . B s . B s B . s B >>
. s . B . s . B s . B s B . s . >>
B . . . . . . . . . . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
duns B . . S S S . . M . . . M . . . >> sangba muffs
M . . S S S . B S . B S . B S . >>
B . . S S S . . M . . . M . . . >>
M . . S S S . B S . B S . B S . >>
B . . S S S . . M . . . M . . . >>
M . . S S S . B s . B S B . S B >>
. S . B . S . B S . B S B . S . >>
----------------------------------------------
DUN PHRASE ALONE; OTHERS CLAP

1 . . . 2 . . . 3 . . . 4 . . .
B . . S B . S S B . . S B . S S repeats (dun,sanga)
Then signals:
DUN SIGNAL
1 . . . 2 . . . 3 . . . 4 . . .
B . . S B . S S B S B S B S B S >>
B S . . . . . . . . . . . . . .
----------------------------------------------
JEMBES RESPOND
1 . . . 2 . . . 3 . . . 4 . . .
. . . .[TTTT] . M . . . M . . @ >>
B . . B T T S S B . . . B . . . >>
B . . B T T S S B . . . B . . . >>
B . . B T T S S B . . . B . . . repeats until signal
duns 1 . . . 2 . . . 3 . . . 4 . . .
. . . . . . . . . . . . . . . . >>
B . . S B . S S B . . S B . S S repeats (dun,sanga); keeps going
----------------------------------------------
JEMBE SIGNAL
1 . . . 2 . . . 3 . . . 4 . . .
$ $ . . . . . .
JEMBES RESPOND; DUNS KEEP GOING

1 . . . 2 . . . 3 . . . 4 . . .
b >>
S t T s T t S t T s . .[TTTT] . >>
M . . . M . . @ B . . B T T S S >>
B . . . B . . . B . . B T T S S >>
B . . . B . . . B . . B T T S S >>
B . . . B . . . B . . B T T S S repeats until signal
----------------------------------------------
JEMBE SIGNAL
1 . . . 2 . . . 3 . . . 4 . . .
$ $ .
JEMBES RESPOND; DUNS KEEP GOING

1 . . . 2 . . . 3 . . . 4 . . .
b S t T s T t S t >>
T s . .[TTTT] . M . . . M . . @ >>
B . . B T T S S B . . . B . . . >>
B . . B T T S S B . . . B . . . >>
B . . B T T S S B . . . B . . . repeats until signal
----------------------------------------------
JEMBE SIGNAL
1 . . . 2 . . . 3 . . . 4 . . .
S . S . S . S . >> signals a switch
S . S . S . S . S . S . S . S . >>
S . S . S . S . $ $ . . . . . .
JEMBES RESPOND; DUNS KEEP GOING, THEN SWITCHES

1 . . . 2 . . . 3 . . . 4 . . .
jembe b >>
S t T s T t S t T s . .[TTTT] . >>
M . . . M . . @ B . . . $ . . b >>
S . b S . b S . b S . b S . . b >>
S . b S . b S . b S . b S . >> into rhythm
duns 1 . . . 2 . . . 3 . . . 4 . . .
B . . S B . S S B . . S B . S S >>
B . . S B . S S B . . S B . S S >>
B . . S B . S S B . . . S . . B >> switches on the 4 this line
S . B S . B S . B S . B S . . B >>
S . B S . B S . B S . B S . >> into rhythm
----------------------------------------------
duns 1 . . . 2 . . . 3 . . . 4 . . .
B . >>
B . . B . . B . . . M . . . B .
Jembe parts
“Butter”
1 . . . 2 . . . 3 . . . 4 . . .
S . >>
B . T t . . S . B . T t . . S .
“Bed”
1 . . . 2 . . . 3 . . . 4 . . .
S . . s S . T t S . . s S . T t
1 . . . 2 . . . 3 . . . 4 . . .
Jembe T t S s . b S s T t S s . b S s
----------------------------------------------
dun ballet – one arrangement

1 . . . 2 . . . 3 . . . 4 . . .
sangba S . . . S . . . S . . . S . . .
dun B . . B . . B . . . . . . . B .
kenkeni . . . . . . . . . . B . . . . .
----------------------------------------------
dun traditional – one arrangement
1 . . . 2 . . . 3 . . . 4 . . .
sanbga B . . B . . B . . . M . . . B .
1 . . . 2 . . . 3 . . . 4 . . .
dun B . . . . . . . M . . . B B . B >>
. B . . . . . . B . B . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
kenkeni B . . . . B B . B . . . . B B .
or (especially when fast)

1 . . . 2 . . . 3 . . . 4 . . .
kenkeni B . . . . . B . B . . . . . B .
----------------------------------------------
Enchauffement 1 . . . 2 . . . 3 . . . 4 . . .
T t S s S s S s S s S s S s S s >> can vary of course
T t S s S s S s S s S s S s S s >>
T t S s S s S s S s S s S s S s >>
T t S s S s S s S s S s S . . . >>
----------------------------------------------
ENDING
1 . . . 2 . . . 3 . . . 4 . . .
END BREAK @ . T t . T . T t . T . S s S s >>
S . . . B . . S . . B s B b T B >>
B
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 B . T t . . S . B . . . S s S s >>
S . . . B . . S . . B s B b T B >>
B
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #2 S . . s S . T t S . . s S s S s >>
S . . . B . . S . . B s B b T B >>
B
Duns follow along on final break:
Ballet 1 . . . 2 . . . 3 . . . 4 . . .
. . . . . . . . . . . . S S S S >> sangba and dun
S . . . B . . S . . B S B B S B >>
B
Traditional 1 . . . 2 . . . 3 . . . 4 . . .
All duns . . . . . . . . . . . . B . B . >>
B . . . B . . B . . . B . . B . >>
B
Jonfoli
Dance of the slaves. Variations aplenty.
Reference: Wolosodon / Djondon
Wolosodon (Wolosedon, Wolosodan, Djondon, Jondon, Djonfoli)
comes from the Kayes region (Stephan Rigert) or from the South
- East part of Mali, near the border with Burkina Faso (R.Clark).
It means "Dance of the Woloso", dance of the slaves. It concerns
the slaves who used to serve at the royal courts of the Mandinka
Kings and their families. The dance shows the family hounour
and family solidarity. There seems to be a quarternairy
and a ternairy version.
2nd reference:
Jonfoli is a slave dance. There were two classes of slaves
this entailed. The Jon people were born into servitude or by
other means. The Wolosso were a lower class of slaves,
so to speak - they were worse off. The dance is a risque
one - and the lower class of Wolosso can really let it all hang out.
Degge is a porridge and sere is a bitter leaf. The analogy
in the song is here comes the Jon and the Wolosso - that's
like putting a bitter leaf into your porridge - they don't go together.
Words:
Horo juga mana jon foli kamen
A ba yere ke woloso ye
Sera degge mana jon foli kamen
A ba yere ke woloso ye
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x . x . x . x . x . x . x .
Dununba B . . . . . B . B . . . . . B .
Variation:
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x . x . x . x . x . x . x .
Dununba B . . . B . B . B . B . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x x . x x . x . x . x . x .
Sangba . . . B . . . . . . B . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . T t B . T t B . T t B . T t
-----------------------------------------
Rainer Pollak jembe part:
1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . T t S . . b S . T t S . . b
End Break:
1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . T . . . T . . T . T . . .
Kakilambe
Yai'm bo, Yai'm bo mama,

Yai'm bo, Kakilambe be, umbe
Yai'm bo, Yai'm bo, Yai'm bo, mama,
Yai'm bo, Kakilambe be, umbe
1 . . 2 . . 3 . . 4 . .
KENKENI x x . x x . x x . x x .
B B . M . . B B . M . .
1 . . 2 . . 3 . . 4 . .
SANGBA x x . x x . x x . x x .
M . . B B . C . . O O .
1 . . 2 . . 3 . . 4 . .
DUNUNBA x . x . x . x x . x . x >>
B . B . B . . . . . . B >>
x . x . x x . x . x . x
B . . . . . . . . . . B
^
1 . . 2 . . 3 . . 4 . .
JEMBE 1 B . . t S . B . . t S .
1 . . 2 . . 3 . . 4 . .
JEMBE 2 B . . t S . B t T t S .
1 . . 2 . . 3 . . 4 . .
JEMBE 3 B . t T s . B t . T s .
Kassa
Kassa is a harvest-dance. During harvest-time, farmers go to the fields, which
are sometimes far away from the village. A camp is made for as long as needed.
Some woman come to sing and tp prepare the meals. During the day the drummers
play Kassa to support the workers in the field. When the harvest is completed,
there is a big celebration in the village. The word 'Kassa' means granary.
Break
1 . . . 2 . . . 3 . . . 4 . . .
@ . T t . t . t T . S s S . . .
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
x x . x . x x . x x . x . x x .
B B . M . . M . B B . M . . M .
Sangban
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x . x x . x x .
M . . B . . M . M . . B . . M .
Dununba
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x . x x . x x .
B . B B . . . . . . B B . B B .
Dununba variation
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x . x . x . x .
B . . . . . . . . . B . B . B .
Dununba variation
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x . x . x . x .
. . B B . . . . . . B B . B B .
Djembe 1
1 . . . 2 . . . 3 . . . 4 . . .
T t S s . . S s T t S s B . S s
Djembe 2
1 . . . 2 . . . 3 . . . 4 . . .
S . . s S . T t S . B s S . T t
Kawa - Mask Dance from Guinea
Timeline 1 . . 2 . . 3 . . 4 . .
Break @ . T t . t T . T t . .
Jembe 1 S . T s . . S . T s . .
Jembe 2 S . . s T t S . . s T t
Timeline 1 . . 2 . . 3 . . 4 . .
x . x x . x x . x x . x
Kenkeni . . B . . B . . B . . B
x . x x . x x . x x . x
Dununba B . . . . B B . . . . B
^
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba x . x x . x x . x . x .
. . B B . . B . B . B . >>
x . x x . x x . x . x .
M . . M . . M . . . B .
^
Arrangement (from CD):
1. Sangba alone
2. Kenkeni
3. Dun
4. all
Kemoba
Modern rhythm
1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . B B . . . . M . . . B . B . >>
B . B B . . . . M . . . M . . . >>
B . B B . . B . B B . . B . B . >>
. . B B . . . . M . . . M . . .
1 . . . 2 . . . 3 . . . 4 . . .
Dun B . B . B . . . . . . . . . . B
1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni B . . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 S . . s S . T t S . . s S . T t
Jembe 2 B . T t . . S . . . T t . . S . >>
. . T t . . S . . . T t . . S . >>
KOREDJUGA (KOTEDJUGA, KOREDUGA)
From Mali (some caste members are also in Guinea. The Koredjuga caste functions
as clowns. Example: during events (example: wedding), when the bride and groom
are about to take their vows, the clowns appear and make a scene. People pay
them to leave! They dress badly and look ridiculous.
Mali Version:
BREAK 1 . . 2 .
. . 3 .
TtT t T t
. . T .
1 . . 2 .
. . 3 .
Djembe 1 S . B s T
b t S .
^
Djembe 2 T s . T s . T s .
1 . . 2 . . 3 . .
Dununba B . B . M . M . .
Kenkeni B . . B . . B . .
Sangba B . B . . . B . B >> (Abdoul Doumbia part)
. . . B . B . . .
Guinea Version:
1 . . 2 . . 3 . .
Djembe 1 bS . S b T t B s . (Begins with Bass-Slap flam)
Djembe 2 T s . T s . T s .
1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
x . x . x . x x . x . x . x . x x .
Sangba B . B . M . M . . B . B . M . M . .
1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
x x . x x . x x . x x . x x . x x .
Kenkeni B B . M . . B B . M . . B B . M . .
1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
x x . x x . x x . x x . x x . x x .
Dununba . . . . B . B B . . . . . . . . . .
Serge Blanc Version:
Timeline 1 . . 2 . . 3 . .
Break TtT T S s . S s .
Jembe 1 bS . S b T t B s .
Jembe 2 T t . S s . S s .
Timeline 1 . . 2 . . 3 . .
Sangba B . B . M . M . .
Bell x . x x x . x . x
Dununba B . B B B . B . B >>
x . x x x . x . x
B . . . M .
M . B
x . x x x .
x . x
(Madou Dembele -- Ballet
Duns)
Kenkeni 1 . . 2 . .
3 . . 4 . . 5 . . 6 . .
& Dun D . D . K K
. K . M . M . K K . K D (M is on Kenkeni)
^
Sangba B . . B . . B . . B . . B . . B . .
Solo Pattern (elements)
1 . . 2 . . 3 . .
B . . B . . B . s >>
S . s B . . B . s >>
S . s B . . B . s >>
S . s B . . B . s >>
S . s B . . B . s >>
S . s S . . B . s >>
S . s S . . B . s >>
S . s S . . B . s >>
S . s S . . B . b >>
SsSs. B . B . b >>
SsSs. B . B . b >>
SsSs. B . B . b >>
SsSs. B . B . b >>
[*StTsTtSsS*] . b >>
SsSs. B . B . b >>
SsSs. B . B . b >>
SsSs. B . B . b >>
SsSs. B . B . b >>
TtT t T t . T . . >>
Solo Patterns (Mali)

1 . . 2 . . 3 . .
bS . S b T t B s . >>
bS . S b T t B s . >>
bS . S b T t B s . >>
bS . . . . . . . . >> repeat
1 . . 2 . . 3 . .
(b)S s S . T t T . b >>
S s S . . . . . b >>
S s S . T t S t T >>
S s S . . . . . b >> repeat
1 . . 2 . . 3 . .
(b)S s S . T t T . b >>
S s S . . . . . b >>
S s S . .TtTs .TtT >>
s S s . . . . . b >> repeat (vary 3rd line)
Enchauffments
1 . . 2 . . 3 . .
T s S t S s T s S >>
t S s T s S S . . >>
Break TtT t T t . T . . >>
$
1 . . 2 . . 3 . .
$ S s $ S s $ S s >>
$ S s $ S s $ . .
Break @ . T t . T t . . >>
$
KUKU
Mamady - Traditional
1 - - - 2 - - - 3 - - - 4 - - -
BREAK @ . T t . t . t T . S s S . . .
Djembe #1 B . T t . . S . B . T t . . S .
Djembe #2 T t . s T t S . T t . s T t S .
Sangban
bell x . x x . x x . x . x x . x x .
drum B . . M . . B . B . . M . . B .
lead-in ^
Kenkeni
bell (easy) . . . x . . x . . . . x . . x .
bell (hard) x x . . x x . . x x . . x x . .
drum B B . . B B . . B B . . B B . .
Dununba
bell x . x x . x x . x . x . x . x . >>
drum . . . B . . . . . . . . B . B . >>
bell x . x x . x x . x . x . x . x .
drum B . . B . . . . . . . . . . . .
KUKU IVORY COAST - MADOU
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 b . T t . . S . b . T t . . S .
^
1 - - - 2 - - - 3 - - - 4 - - -
Dununba B . . . . . . B B . . . . . . B
^
Sangba . . . . B . . . . . . . B . . .
Kenkeni . . . B . . . . . . B . . . . .
DUN VARIATION
1 - - - 2 - - - 3 - - - 4 - - -
DUN PART B . S . . K . . . . S . . K . B >>
B . S . . K . . . . S . . K . B >>
B . S . . K . . B B B B B B B B
^
KUKU IVORY COAST - MADOU DANCE CLASS
1 - - - 2 - - - 3 - - - 4 - - -
BREAK @ . T t . t . t T . T . T . . .
DUN B . B B . . S . K . B B . B B .
^
Jembe #1 S . . s S . T t S . . s S . T t
Jembe #2 b . T t . . S . b . T t . . S .
Kuku Reverser
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 S . . S . . . . S . B . B . . . >>
S . . S . . . . T . T . T T . .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 2 S S . . T T . . S S . . T T . .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 3 . . T T . . S S . . T T . . S S
1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni x . x . x . x . x . x . x . x .
B . . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Sangba x . x x . x x . x . x x . x x .
. . . . . . B . . . . . . . B .
1 . . . 2 . . . 3 . . . 4 . . .
Dununba B . B B . B B . B . . . . . . . >>
. . . . . . . . . . . . . . . B
^
1 . . . 2 . . . 3 . . . 4 . . .
Break/
intro T . . T . . . T . . T . T . . B >>
S S S S . . . . . . . B S S S S >>
. . . . . . . B S S S S T T T T >>
S S S S . . . B T . T . T T . B >>
S . B S . B S . B . T T T . . . >>
Lead M . . T . S T T S . S . S . . . >> rhythm
Lamba - (Jelidon)
Madou Dembele Intro
1 - - - 2 - - - 3 - - - 4 - - -
INTRO (Repeats for a while)
Jembes b . . . . . M . M . M . . . M . >> starts first muff
^
M . . B b . B . b . . B b . B . >>
Dun B . . . . . . . . . . . . . . . >> answers
. . . B b . B . b . . B b . B .
^
Bell x . x . x . x . x . x . x . x . >>
x . x . x . x . x . x . x . x .
Lead Standard Break Begins on 5th Muff.

1 - - - 2 - - - 3 - - - 4 - - -
@ . T T . T . T T . S S S . . .
1 - - - 2 - - -
Jembe 1 T t S s B . S s
Jembe 2 S . . s S . T t
Dun B . B . B . . B
Slow tempo: Swings!
Fast temp: Dun changes to:
1 - - - 2 - - -
Dun B . B . B . . .
Break - (Can be used for Lamba, etc.)

1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . B . B . S . B . B . S . B . >>
S . . . S . B . S . B . S . . . >>
S . B . B . S . B . B . S . B . >>
S . . . S . B . S . B . S . . . >>
B B B . S S S . B B B . S . B . >>
S (or into the hand parts)
Dun plays S on rim and B on bass
1 . . . 2 . . . 3 . . . 4 . . .
into S . . S S . T T S . . S S . T T
Lamba T T S S B . S S T T S S B . S S
hand
parts
1 . . . 2 . . . 3 . . . 4 . . .
Into dun B . . B B . B . B . . B B . B .
Famadou Konate Dun Arrangement (from CD)

1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni B . . B B . B . B . . B B . B .
1 . . . 2 . . . 3 . . . 4 . . .
Sangba/Dun . . . . . . S . . S . . . . D .
Lamba (Jelidon) HistorL: from various sources (Michael Wall, etc.)
NAME OF RHYTHM: Lamban, Lamba, Lambambaa, Lanbango, Lambango, Lambang, Jali,

Jeli Foli, Jalidon, Dialidon, Diely-Don, Griot
COUNTRY: All Mande countries (Guinea, Mali, Burkina Faso, Ivory Coast,
The Gambia and Senegal)
OTHER NAMES:
REGIONAL/ETHNIC GROUPS: Mande
PURPOSE/BACKGROUND:
Here's my understanding of Lamban (sometimes spelled Lamba or Lambango in
The Gambia), also known as Jeli Don (Dance of the Jelis ) or simply Griot
(a term that originally apeared in French travel writing in the 17th
century referring to jelis or the Wolof or Fula equivalent):
It has origins on the balafon as a piece created by and for jelis (Maninka
hereditary professional musicians), specifically the Kouyate lineage. If
you want to praise a Kouyate, all you need do is play Lamban. How and when
the dundun came along with Lamban is impossible to speculate upon--maybe it
even started out on dundun, but there are no oral traditions about this. At
any rate, it makes the most sense that the jembe is a later accretion to
Lamban. The crux of the problem is: when jembe players played along with
balafon and dundun players, why did they choose a 4/4 generic accompaniment
pattern (albeit played at times with a triplet feel)? I can't see any basis
for an answer to this question yet. (snip)
In Greensboro, Joh had explained that Dansa was played to encourage workers
during agricultural labor and Lamban was played by jelis to celebrate when
the fruits of that labor (the harvest) was shared with them. He may also
have said that Dansa was played to celebrate the harvest. But I wouldn't
pin Joh down to that single explanation; of course he may have simplified
what he knew due to the circumstances. There does seem to be a close
connection between Lamban and Dansa, but the historical explanation is
unclear. On Djimo Kouyate's cassette he has the dundun go into Dansa during
Dialidon (Jelidon), and that is typical. The
bilingual article "Pre-theatre et rituel: National Folk Troupe of Mali" in
African Arts, Spring 1968 vol. 1, no. 3, pages 31-37, written by Jean
Decock, shows a drawing and photo of Dansa dancers indicating it is danced
by girls from Khaso (Xaso) to celebrate the harvest. (Eric Charry)
During Sunjata's time (13th century), there was an occasion when all the
balaphon players gathered together. They said, "We should have our own
tune, which we can dance to ourselves". So it was on that day they
invented "Lambango" for the jalibas to dance to. It became a general tune
for all jalis, which they used to play and dance to, to entertain their
heroes, kings, and patrons.
Although it originated as music for the balaphon, it was also played on the
kontingo (lute). There was a kontingo player named Lamin Dambaketeh who
modified "Lambango" to its present style, changing the tune a bit. Lamin
Dambaketeh was about to marry a very famous jali woman, Bantang Kuyate, who
was an excellent singer and historian. One day, Lamin left his village
to visit Bantang. Unfortunately, before he arrived, she died and was
buried. Upon his arrival, he was told the sad story. He asked the people to
show him Bantang's grave. He went there with his kontingo and played a
special version for his dead fiancee.
"All is possible, Bantang Kuyate (but) Beauty will not prevent death,
Bantang Kuyate"
This modified version of the melody has since become the standard
"Lambango" and the original version is no longer played. (Lynne Jessup)
In past times, Lambambaa was played as a celebration of the culture of the
Jaliyaa. Unlike the vast majority of songs in the traditional repetoire,
which are centered around non-jali figures, Lambambaa is meant for the
members of the jaliyaa in the village in which it is performed, as the men
play the kora and balo, and the women dance and sing. Today this song is
extremely popular in the Mandinka area, and especially in Gambia where it
has been adapted to include lines that call for the populace to pull
together for the good of the country. (Morikeba Kouyate)
This is a dance celebrating the art of the jali. (Ancient Heart)
Lamban is one of only several kora pieces that was created by jalis for
their own entertainment. The piece has not been traced to any other
particular story or legend, and probably originated on the balaphon.
Malian jalis often play this classic piece to relate any event they may
wish. Lamban is also played in Suata tuning (Ed. note - a kora tuning).
Amadu's interweaving of kumbengo and birimintingo illustrates the depth of
his musical prowess. (Much of kora music is based on short cycles of finger
movements called kumbengo. These kumbengo may be continuously developed
within a piece with slight variations in rhythm and melody. Another
important element of kora playing is birimintingo, or downward spiraling
melodic runs, which can be fast and highly ornamental in nature.) (Amadu
Jobarteh)
This is supposed to be one of the oldest tunes in the Manding repertoire.
"The musicians didn't compose this for any patron, they did it for
themselves. They would just sit down with their wives and feel happy, and
their wives would dance and sing.". Lambango is originally a balaphon
tune, in Hardino tuning. (Ed. note - another kora tuning; this recording is
a kora performance) (Jaliology)
A griot song and dance celebrating the Griots themselves, praising God for
giving them the art of music. Griots rejoice in this ancient song that is
played in many villages, especially on moonlit nights. (Jali Kunda)
This song praised the Jali (Oral Historians) who keep alive the tribal
culture of the people of West Africa (Vieux Diop)
This tune is dedivated to griots whenever they host a ceremony (M'Bady
Kouyate)
This rhythm is played by the griots, a class of travelling musicians, poets
and story tellers whose duties include the recitation of family and tribal
histories. (Khassonka Dunun)
Lamba is the dance of the Jalis, Keepers of the Oral Tradition. Lamba is a
spiritual dance and rhythm that is used in healing to promote a sound mind
and body. (Nurudafina Abena)
Lamba is a song/dance/ceremony enacted at passages of life and for
spiritual cleansings (Sule Greg Wilson)
This music is played by the Griots for Griots, also known as Djelis. They
say Allah did a good thing in creating the status of Djelli. (Yaya Diallo)
Dialidon is traditionally the special rhythm for only griot families.
Today it is popular and danced by many people in the cities and villages.
However, the song that accompanies the music is specifically to honor griot
members. (Djimo Kouyate)
One of few songs designed to entertain griot clan members, griot families
only play this song when amongst themselves. Lambang is accompanied by the
Jalidon, the griot dance. When the moon is bright the men come out and play
the kora and the balaphone while the women dance and sing the Lambang song.
Music is created by God and God created us to play good music and dance.
(Mandeng Tunya)
In Mali, Lamba is played entirely on dunun; in Guinea and Senegal it is
played by djembe and dunun together. It is a celebration and processional
rhythm, One version is the "Kings Lamba" used by rulers and chiefs,
another is the "Dance of the Griots" which is danced and played for the
Jeli or griots; the traditional oral historians, praise singers,
ambassadors and advisors of West Africa. (Impala)
A Bambara/Manding rhythm (with it's accordant songs, dances, clothes,
talismans, and so forth) played at rituals of major passages in life -
marriage or circumcision for example. A royal court dance of gesture and
protocol where the dancer gives praise to the almightly chiefs, kings,
queeens and so on. The introduction is a series of praises and
salutations. (Christine Reagen Rosales)
The term for a group of dances from the Malinke people of West Africa used
as court dances for kings, and dances of healing and rites of passage.
(Bomidele)
A widely known song about the joys of being a jeli. The lyrics refer to a
familar expression which stresses the importance of the jeli to social
cohesion: "Jeliya, o ye jalla di, ni jalla wulila, kulusi be wuli" (The art
of jeliw is like a belt; if you take it away, the trousers fall down).
(Ana Be Kelen)
That's another very old song. I don't know who composed it. There are lots
of new ideas in this version, to see how it goes with the band. The song
comes from Mali. If a musician, a jali, likes to marry a jali woman, then
the day of the marriage all the jalis come together and play this song, and
dance. It's a song for the jalis. (Dembo Konte)
Song of the Jelis (Mali-Guinee) God himself entrusted the jelis with
their mission just as he created invisible spirits and mortal humans. A
jeli cannot fear telling the truth to men who, one day, will return to the
earth since the jeli's words are immortal. Hear ye, I know a land where men
scrape the hard earth without complaining and women reap immense fields of
sadness. In this land, babies die of hunger and mothers cry softly.
(Cisse)
RELATED RHYTHMS:
SONG LYRICS:
Ye, jaliyaa, Alla le ye ka jaliyaa da
(Ah, jaliyaa, it was God who created jaliyaa)
Alla nung ka mansayaa da, ate le nata bannayaa da
(It was God, too, who created kingship, and then wealth) (Morikeba Kouyate)
Ye, Jaliya-o, Alla le ye ka jaliya da
(Oh music, God created music) (Jali Kunda)
Fugaba sangban kodole tokole fuga mogo lombali milon
Fuga, fugaba mogo lambali milon
Dia dia dia dia dia e dia dia lombali a dimini
Sangban kodo e ate togola fugala
Old field is not barren desert, He who doesn't know you, ignore what you're
worth. Old field, old field. He who doesn't know you, ignore what you're
worth. Oh! How ignorance can hurt! (Kendigo)
Oh Libo Mansanya
Nye Kilebo La Ila
Simbo Mansanya
E ye Djallia (Lasensua)
Macru (Makuru)
Usually played in combination with Yankadi.
Timeline:
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 B t . t B . s . B . t . B . s .
Dj#2 B . . s . t T . B . S . . t T .
Dj#3 T . . S . . . t T . s . S . . t
Dun Bell x . . x x . x . x . x . x . x .
Dun B . . B B . . . B . B . B . . .
Sangba Bell x . x . x . x . x . x . x . x .
Sangba M . . . . . B . M . . . . . B .
Sangba alt B . . . . . B . B . . . . . B .
Bell x . . . x . . . x . . . x . . .
Kenkeni . . B B . . B B . . B B . . B B
Macru Break
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 . . . s S . T . S s . . . . . .
Response B . B . >>
B
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 . . . s S . T . S s . . . . . .
Response B . B . >>
B
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 . . . s S . T . S s . . . . . .
Response B . B . >>
B . . . B . B . B . . . B . B . >>
B . . . B . . . B . . . B . . . >>
Back to rhythm.
Signal to switch to Yankadi – before the Macru break
1 . . . 2 . . . 3 . . . 4 . . .
S . s . S . s . S . s . S . S . >> can repeat, etc.
NAME OF RHYTHM: Macru, (Makuru, Macuru)

COUNTRY: Coastal Region of Guinea (Journey Into Rhythm & Master of the Forest
Liner Notes)
OTHER NAMES: Baga Gine (Famoudou Konate)
REGIONAL/ETHNIC GROUPS: Sousou coastal people of Guinea (Liner notes Journey

Into Rhythm) Soussou (Master of the Forest, Bamidele and Abdoulaye Sylla liner
notes)
Madan - one version
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T T . T . T T . T . T T . .
Jembe 1 B . T t . b S . B . T t . b S . main part
Jembe 2 S . B s S . T t S . B s S . T t minor part
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni . . B B . . M . . . B B . . M .
Dununba M . . B . B . . B . B . . . M . straight
Dun var M . . B . B . . B . B . . M . . funkier
Dun var M . . B . B . . B . B . M . M . (M could be high drum)
Serge Blanc Duns

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . B B . . M . . . B B . . M .
Bell x . x . x . x . x . x . x . x . >>
Dununba M . . B . . B . B . . B . . B . >>
x . x . x . x . x . x . x . x .
B . . B . . M . M . . M . . M .
Alternate breaks
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T T . T T . T T . T T . . . jembe 1 uses pickup S here
Break $ . . . B . . . $ . . . $ . . . mid-break, transition break
Madan Dun Variations
Abdoul 1: 1 . . . 2 . . . 3 . . . 4 . . .
M . . B . B . . B . B B . . M .
Abdoul 2: 1 . . . 2 . . . 3 . . . 4 . . .
funky same M . . B . B . . B . B . . M . .
Abdoul 3: 1 . . . 2 . . . 3 . . . 4 . . .
M . . B B B . B B . B . B B . B >>
B . . B . B . . B . B B . . M .
Abdoul 4: 1 . . . 2 . . . 3 . . . 4 . . .
M . . B B B . B B . B B . B . B >>
. B . B . B . B B . B B . . M . >>
Slow Jembe Part (Abdoul)

1 . . . 2 . . . 3 . . . 4 . . .
@ . T t . T . t T . t . T b S b >> once into part
B b S t T t S s T t S s . b S b
As part of solo:
1 . . . 2 . . . 3 . . . 4 . . .
@ . T t . T . t T . t . T b S b >>
B b S t T t S s T t S s . b S b >>
B b S t T t S s T t S s . b S s >>
B s S b . b S s B s S b . b S b >>
B b S t T t S s T t S s . . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
SsS s S . TtT t T . SsSsS s T t >>
S s . . . . . . B . . . B . . . >>
S s . . . . . . B . . . B . . . >>
S s . . . . . . B . . . B . . . >>
@ . T t . T . t T . t . T >> back to rhythm
Madou intros
ZAWULI INTRO
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . S S T T S .
T . T T T . S S T T S S S . . B
T . S S S . T . S S S . T . S S
S . T . S S S . T . T . T . T .
T . S S S . T . S S S . T . S S
S . T . S S S . T . T . T . T .
T . . T . S T T . T . S T T . S
S . . . HEY . B S S . S S S . S
S . . B S S . S S S . S S S . S
S . . . T . . . . . T T T . . DUN HERE
DUN
1 . . . 2 . . . 3 . . . 4 . . .
B . . . S . S . S . B . B . . B
^
Plays alone once, then jembes come in:
JEMBE
1 . . . 2 . . . 3 . . . 4 . . .
S . S S . S T T S . S S . S T T
END
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . S S S . . B
T T S . . . T T S . T T S . . B
T T S . . . T T S . T T S . . B
T T . S S . T . T . S . T . T .
S . T . T . S . T . T . S S S S
S . T T . . T . . . . . . . . B
T T S . . . T T S . T T S . . B
T T S . . . T T S . T T S . . B
T T . S S . T . T . S . T . T .
S . T . T . S . T . T . S S S S
S . T T . . T . . . . . . . . .
DUN
END 1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . S S S . . .
B . . . . . B . . . B . . . . .
B . . . . . B . . . B . . . . .
B . . . . . B . . . . . B . . .
. . B . . . . . B . . . . . . .
. . B B . . B . . . . . . . . .
B . . . . . B . . . B . . . . .
B . . . . . B . . . B . . . . .
B . . . . . B . . . . . B . . .
. . B . . . . . B . . . . . . .
. . B B . . B . . . . . . . . .
SUNU INTRO
1 . . 2 . . 3 . . 4 . .
T T S T T S T T S S . B
S . S . S S S . B S . S
. S S S . . T T T T . B
S . S . S S S . B S . S
. S S S . . T T T T . .
into rhythm...
new jembe part
1 . . 2 . . 3 . . 4 . .
S . S . T T S . S . T T
SUNU END
1 . . 2 . . 3 . . 4 . .
@ . T T . T T . T T . B
S . S . S S S . B S . S
. S S S . . T T T T . B
S . S . S S S . B S . S
. S S S . . T T T T . .
MADAN INTRO
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . S S S . . .
$ . B B . $ . B B . . . S S S S
S S >>
Dun . B . B . . B . B . . . M .
M . . B . B . . B . B . . . M .
jembes come in after the 4:
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . S S S . . .
$ . B B . $ . B B . . . S S S S
S S . . . . . . . . . . . . T T
S . . S S . T T S . . S S . T T
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . S S S . . .
$ . B B . $ . B B . . . S S S S
S S . . . . . . . . . . . . S .
B . T T . B S . B . T T . B S .
Maraka
Source: Madou Dembele
Timeline 1 . . 2 . . 3 . . 4 . .
Break SSS S S S . TTT T T T .
Jembe 1 B . T t S s B . T t S s Other versions leave out 2nd slaps

Timeline 1 . . 2 . . 3 . . 4 . .
Bell x x . x x . x x . x x .
Dununba B . . M . . B B . M . .
Bell x . x . x . x x . x . x
Sangba B . M . M . . B . B . B
Kenkeni . . B . B . . B . B . B
Or
Kenkeni . . B . . B . . B . . B
One Mid-Break
Timeline 1 . . 2 . . 3 . . 4 . .
All B . B B B B B . B B B B >>
B . B B B B B . (back)
End Break
Timeline 1 . . 2 . . 3 . . 4 . .
Break SSS S S S . TTT T T T .
1 . . 2 . . 3 . . 4 . .
B . . B . . B . . B . b >>
B s S s S s S s S s . b >>
B s S s S s S s S s . b >>
B s S s S s S . b S . b >>
. S . b S . b . S b . S >>
. b . S b . S . b S . b >>
. S . b S . b . S b . S >>
. b . S b . S . b S
MIDBREAK: basic phrase 2-3 times

1 . . 2 . . 3 . . 4 . .
DJ1 B . T T S S B . T S S S
S . B . B . S S S S . .
BT . S S T T S S . S S S
S . B . B . S S S S . .
BT . S S T T S S . T S S
B . T T S S B . T S S S
ENCHAUFMENT
1 . . 2 . . 3 . . 4 . .
T S T T S S S S S S S S
T S T T S S S S S S S S
T S T T S S T S T T S S
T S T T S S T S T T S S
SSSS. S S . TTTT. T T .
NOTES:
CALL:
CHE - BELE - BO
RESPONSE: ON - KE
CALL: I AM BOLOF - FILI - KAW FE
THE OLD MAN'S GONE!

LET'S PLAY!
Mendiani
Mendiani was originally a dance for specially trained young girls (6-14).
Villages would have competitions to see who was the best Mendiani dancer. The
girls would enter the competition area standing on the shoulders of men
accompanied by the Dennadon rhythm.
1 . . 2 . . 3 . . 4 . .
Break @ . T t . T t . T t . .
1 . . 2 . . 3 . . 4 . .
Jembe 1 S . T s . . S . T s . .
Jemne 1 alt S . t S . b S . t S . b
Jembe 3 . . S . T s . . S . T s optional
1 . . 2 . . 3 . . 4 . .
x . x x . x x . x x . x
Sangba B . B . . M . . B . B . microtiming last B
^
1 . . 2 . . 3 . . 4 . .
x . x x . x x . x x . x
Kenkeni B . . . . B B . . . . B
^
1 . . 2 . . 3 . . 4 . .
Bell . x x . x x . x x . x x
Simple Bell x . . x . . x . . x . .
Dununba . B B . . . . . . . B B
^
1 . . 2 . . 3 . . 4 . .
variation 1 . B B . B . B . B . B B on occasion
1 . . 2 . . 3 . . 4 . .
variation 2 . B B . . . . . . . B B >> on occasion
. B . B . B . B B . B . >>
B . B B . . . . . . B B >> back to normal
Some solo phrases
Source: Abdoul
Timeline 1 . . 2 . . 3 . . 4 . .
S . T S . . S . T S B . >>
S . T S B B S B T S B . 3x total
S . . B S . . B S S T T >>
S . . B S T T S T T S . 3x total
T T S S B S S B S S B S 3x, skip last S before break
Break @ . T T . T T . T T . . >>
$
Intro Break (from CD - Famadou?)

Call and basses respond
Dun and sangba plays basses
Kenkeni goes into part.
1 . . 2 . . 3 . . 4 . .
% . . % . . >> % = Tone-Slap flam
TtT t S t T s S s . . b >>
B . b B . . % . . % . . >>
B . b B . . % . . % . . >>
B . b B . . . . b B . b >>
B . . . . b B . . . . . >> into rhythm
Kenkeni
1 . . 2 . . 3 . . 4 . .
call % . . % . . >> % = Ts flam
TtT t S t T s S s . . K >> starts and keeps going
K . . . . K K . . . . K >> regular part throughout
K . . . . K K . . . . K >>
K . . . . K K . . . . K >>
K . . . . K K . . . . K >>
K . . . . K K . . . . K >>
K . . . . K K . . . . K >>
Sangba -- last line response:
1 . . 2 . . 3 . . 4 . .
B . . . . B B . B . B . goes into rhythm right away
^
B . B . . M . . B . B .
Meni
Meni (Menie) is a Malinke rhythm from Guinea that used to be played on the
occasion of the birth of a child, or more specific: on the day that a name is
given to the child (about one week after it«s been born). There is a song with
this rhythm that tells about four masks. Probably this is why Meni also known
as a Mask-dance.
(solo:) Kamafie cerimbembe kamafie kamafie,
(choir:) Kamafie-e-a cerimbembe kamafie kamafie, a ya yalamba cerimbembe-a
sama dundun kamafie (3x)
(solo:) a ye ke te, yenkeni sa-a samonie kindu
(choir:) samonie kindu samonie kindu e ya yenkeni yenkeni sa-a-e
(solo:) a ye ke te, yenkeni, yenkeni sa-a baoulen kinyama
(choir:) baoulen kinyama-a-e baoulen kinyama baoulen kinyama e
baoulen kinyama e, yankady-e torrys (3x)
(solo:) ana dory yamba
(choir:) da da dory yamba-a-e
*****
BREAK
1 . . . 2 . . . 3 . . . 4 . . .
@ . . . @ . T T . T . T T . T . >>
@ . . . @ . . . . . S S S S . .
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
. . O O . O O . . . O O . O O .
x . x x . x x . x . x x . x x .
Combination
1 . . . 2 . . . 3 . . . 4 . . .
K . . . . . . . . . . O . . . . .
S . . . . . . O . . . . . . . O .
D O . . O O . . . O . . . O . . .
x x . x x . x . x . x . x . x .
Djembe 1
1 . . . 2 . . . 3 . . . 4 . . .
B . T . B . . . B T T T B . . .
Djembe 2; first time
1 . . . 2 . . . 3 . . . 4 . . .
. . . . . . T . B . . . B T . T >>
B S S S B . T . B . . . B T . T >>
Djembe 2; repeat
1 . . . 2 . . . 3 . . . 4 . . .
B . . . B . T . B . . . B T . T >>
B S S S B . T . B . . . B T . T
Moribayassa
Moribayassa, hé Moribayassa,
koanye yassa fö, Moribayassa
ka yassa ko, Moribayassa
ka yassa mu, Moribayassa
ka yassa don, Moribayassa
ka yassa fö, Moribayassa
Moribayassa "name" nada,
Moribayassa, hé Moribayassa,
"name" has come to play the Moribayassa,
it's the Moribayassa that we play,
we have to wash the Moribayassa,
we have to dress the Moribayassa,
we have to dance the Moribayassa,
we have to play the Moribayassa.
BREAK
1 . . . 2 . . . 3 . . . 4 . . .
@ . T t . t . t T . S s S . . .
Or 1 . . . 2 . . . 3 . . . 4 . . .
Call S . s S . s T t S . s . S s T t >
S . s S . S .
Response b B . b . B b . . >
Repeat >
1 . . . 2 . . . 3 . . . 4 . . .
S . . t . t S . . t . t S . t . >
S . . .
Response S s S s S . T t T t T . >
Repeat >
All 1 . . . 2 . . . 3 . . . 4 . . .
. . . . . . . . . . B . B . B .
B (into parts)
1 . . . 2 . . . 3 . . . 4 . . .
jembe 1 B . T t B . S . B . T t B . S .
^
1 . . . 2 . . . 3 . . . 4 . . .
jembe 2 S . . s S . T t S . . s S . T t
1 . . . 2 . . . 3 . . . 4 . . .
x . x . x . x . x . x . x . x .
sangba B . . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
x . x . x . x . x . x . x . x .
dununba B . . . M . . . M . B . B . B .
^
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x . x x . x x .
kenkeni B . . . . . B . B . . . . . B .
^
End Break - same as intro but stop.

Moule
A rhythm of the Dununba Family
Intro
1 . . 2 . . 3 . . 4 . .
Break @ . T T . T T . T T . . >>
B . S S . B . S S . B .
S . B S . B . S B . S .
S S S S . . M . . M . . Sangba and Kenkeni start parts on first muff
M . . M . . M . . M . . >> Repeat >>
1 . . 2 . . 3 . . 4 . .
B . S S . B . S S . B .
S . B S . B . S B . S .
S S S S . . >> rhythm
Intro Dun
1 . . 2 . . 3 . . 4 . .
B . . . . B . . . . B .
. . B . . B . . B . . .
B B B B . . . . . . . .
. . . . . .. . . . . . >> Repeat 2x
1 . . 2 . . 3 . . 4 . .
B . S S . B . S S . B .
S . B S . B . S B . S .
S S S S . . >> rhythm (on 3)
1 . . 2 . . 3 . . 4 . .
Jembe1 S . T S . . S . T S . .
Jembe2 S . . S T T S . . S T T
1 . . 2 . . 3 . . 4 . .
Sangba B B . . . . B B . . . .
Dun B . . B . . B . . B . .
Ending: same as intro

N'Goron
From the Senufo people, border of Mali and Ivory Coast. Originally, young girls
dance it after their initiation. Now a common celebration rhythm.
One version:
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
x . x x . x x . x . x x . x x . x . x x . x x . x . x . x . x .
Kenkeni . . B B . . M . . . B B . . M . . . B B . . M . . . B . . . B .
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
x . x . x . x . x . x . x . x . x . x . x . x . x . x . x . x .
Sangba B . . . B . . . B . . . B . . . B . . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Dun B . . . . . . . . . . . . . . . . . . . . . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Dun var B . . . . . M . M . . . . . M . M . . . . . . . B . B . B . B .
Ballet Duns (Madou Dembele)

1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
S . K K . . S . S . K K . . S . S . K K . . S . D . S . D . S . once
>>
D . K K . . S . S . K K . . S . S . K K . . S . D . S . D . D .
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Jembe 1 T t S s T t S . T t S s T t S . T t S s T t S . T t S s T t S .
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Jembe 2 S . . s S . T t S . . s S . T t S . . s S . T t S . . s S . T t
Play Jembe 2 or 3
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Jembe 3 S . . . . b S s S . . . . b S s S . . . . . . . S s Ts. S s Ts.
Start with regular break or... duns first and jembes respond on first or 2nd
measure:
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
T . T . T . T . >>
rhythm
N'GRI (WASSALONGA)
From Mali, the Buguni people. Song to greet the king.
Old people dance in a formal prescribed way to it.
From Madou Dembele
BREAK 4 . . 1 . . 2 . . 3 . . 4 . .
$ . . T . T . . T . T . T . .
1 . . 2 . . 3 . . 4 . .
Jembe 1 S . s . T t S . s . T t
Jembe 2 B t T b T t B t T b T t
or B s S b T t B s S b T t
1 . . . 2 . . . 3 . . . 4 . . .
DJ3 B . . s B . . . T . t . Tt. . .
Note: This is really part of a solo.
1 . . 2 . . 3 . . 4 . .
SANGBA B . M . B B . M . M . B
DUN B . . B . . B . . B . .
KENKENI . B B . . . . B B . . .
or . . . . B B . . . . B B
1 . . 2 . . 3 . . 4 . .
Variation D . K . D D K D . K . K
1 . . 2 . . 3 . . 4 . .
SANBA/KENKENI M . M . S K . K . K S . Muff on S or K
VARIATION FAST
WASSALONGA TRADITIONAL
1 . . 2 . . 3 . . 4 . .
DUN M . M . . B . B . B B .
KENKENI B . . B . . B . . B . .
SANGBA S . M . S S . M . M . S
Owatasa
Made-up rhythm; a good warm-up.
Time 1 . . 2 . . 3 . . 4 . .
Jembe 1 T t . s . b T . T . B .
Jembe 2 B t T b T t B s T b T t
Note: You can feel each or both parts in 3:
Time 1 . . . 2 . . . 3 . . .
Jembe 1 T t . s . b T . T . B .
Jembe 2 B t T b T t B s T b T t
Sanja
Source: Serge Blanc
Related to Lamba; Griot
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T . T . T . T . T t S s . .
Jembe 1 T t S . B s S . T t S . B s S .
Jembe 2 S s T t S s . b S s T t S s . b
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . B . . B B . B . B . . B B .
Bell x . x . x x x . x x x . x x x .
Dununba B . . . . M . . . B B . . M . .
Found a break some group plays for Sanja:
Break | 1-&-2-&-3-&-4-&- |
Signal: | S...S...S...S... | +
Djembe | SSSSO.O.SSSSO.O. | +
| SSSSO.O.SSSSO.S. | +
| S.OOS.S.S.OOS.S. | +
| S.OOS.S.S.OOS.S. | +
| S.OO.SS.S.OO.SS. | +
| S.OO.SS.S.OO.SS. | +
| S..SS.S.O.O.S... | +
Saran - Mamady Keita Original Rhythm
1 . . . 2 . . . 3 . . . 4 . . .
BREAK @ . T T . T . T T . S S S . . .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 S . T S . S T T S . . B S . . B >>
S . T S . S T T S . . B S S S S
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 2 S . S S . . T T S . S S . . T T
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x . x . x . x . x . x . x . >>
Sangba M . . . M . . . M . B . B . . . >>
x x . x . x . x x . x . x . x .
. B . B . B . B . . B . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x x . x x . x . x . x . x . >>
Dununba . . . . . . . . . . . . . . B . >>
x x . x . x . x . x x . x . x .
. . . . . B . B . . . . . . B .
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x x . x x . x . x x . x x .
Kenkeni B . . . B . . . B . . . B . . .
----------------------------------------------------
Ballet combo of Dununba and Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
K . . . K . . . K . . . K . D . >>
K . . . K D . D K . . . K . D .
Serge Blanc ASCII Notation
Bando - Serge Blanc
Timeline 1 . . 2 . . 3 . . 4 . .
Break S s T s S s . . . . . .
Jembe 2 . . S . T s . . S . T s
Timeline 1 . . 2 . . 3 . . 4 . .
Bell x . x x . x . x x . x . >>
Sangba . . . . . B . . B . B .
x . x x . x . x x . x .
. . . . . . . . B . B .
^
Bell . x x . x x . x x . x x >>
Dununba . . . . B B . B B . B B
. x x . x x . x x . x x
. . . . . . . B B . B B
^
Didadi - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break T t S t T s T t S t T s T t S .
Jembe 1 T t . s . b S . T t . s . b S .
Jembe 2 S . . . @ . @ . S . . . @ . @ .
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba B B . M . . B . B B . M . . B .
Dununba H B . B . B . B B . B . B . H . >>
. . . . . . . . . . . . . . . . where H =
opposite hand
Exercises - Serge Blanc

Number 1
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe M M . . . . . . M M . b B b . .
Kenkeni B . . M . . B . B . . . M . . B
Sangba . . B B . . M . . . B B . . M .
Number 2
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe M . . . . . M . M . . . . . . b >>
T . B t . b T . B . . . . . M .
Kenkeni B . . B . . B . B B . . . . . .
Sangba M . . . M . . . M . B B . B B .
Number 3
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe M . . M . . M . M . B s B b S . >>
B . . . . . . . B . . . . . . b
Kenkeni . . . B B . . . . . . B B . . .
Sangba B B . B . B . . M . . . M . . .
Number 4
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . S s . s T t S . S . S s T t >>
B . . . . . . . B . . . . . . b
Kenkeni . . . B B . . . . . . B B . . .
Sangba B B . B . . M . B . B B . . M .
Number 5
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . . . @ t S . S . S . . b S .
Kenkeni . . B . B . B . B . . . . . B .
Sangba B . . . . . M . . . B . B . . .
Number 6
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S b B b B b B b S . . . B . B . >>
B . . . . . . . B . . . . . . .
Kenkeni . . B B . . B . . . B B . . B .
Dun B . . . . B B . B . . . . B B .
Number 7
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . . . . . . M . M . M . . b >>
T . . . . . . . B . S . B . . b
Kenkeni . . B B . . B . . . B B . . B .
Dun B B . B . B . B B . . . B B . B >>
B . B B . . . . . . . . . . . .
Number 8
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe S . . . . . . . b B . b >>
B . . . . . . . s S . s
Kenkeni B . B . . . B . B . . .
Sangba M . . . B B M . . . B B
Number 9
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe M . M . M . . . b B . b >>
B . . . . . . T t . T t
Kenkeni . . B B . . . . B B . .
Sangba B . . . . B . . M . . B
Number 10
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe B . . . . b S s . s . s >>
S . . . . b B b . b . b
Kenkeni . . B B B . . . B B B .
Sangba B . . . M . B B . . M .
Number 11
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe B . . . . . M . M . M . >>
M . . . . b B . . . . b
Kenkeni . . B B . . . . B B . .
Dun . . B . B B . . B . B B
Number 12
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe B . . . . . S . . . . . >>
S . . . . . S . B . S s
Kenkeni . . . . B B . . . . B B
Sangba B . . . . . M . . . . . >>
M . B B . . . . B B . B
Number 13
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe B . B . . . . . . S . b >>
B . B . . . S . . S . .
Kenkeni B . B . . . B . . B . .
Dun . . . . B B . . . . B B
Number 14
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe B . S b . . . t T . . b >>
B . S b . . . t T . . .
Kenkeni B . . . . B B . . . . B
Sangba . . B . B B . . B . B B
Jansa - Serge Blanc
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break $ . T t . t . t T . T . T . . .
Jembe 1 S . . s S . T t S , , s S , T t
Jembe 2 T t S s . b S s T t S s . b S s
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . . M . . B . B . . M . . B .
^
Bell x . x x . x x . x . x . x x . x >>
Dununba M . . . . . . . M . . . B B . B >>
. x . x x . x . x . x . x . x .
. B . . . . . . B . B . . . . .
Kasa - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T t . t . t T . T . T . . .
Jembe 2 . . T t . . S . . . T t . . S .
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni B . . . B . . . B . . . B . . .
Bell x . x x . x x . x . x x . x x .
Sangba . . . B . . M . . . . B . . M .
^
Bell x x . x x . x . x . x x . x x .
Dununba B B . . . . . . . . B B . B B .
^
Kawa - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break @ . T t . t T . T t . .
Jembe 1 S . T s . . S . T s . .
Timeline 1 . . 2 . . 3 . . 4 . .
Kenkeni
or Sangba B . . . . B B . . . . B
Bell x . x x . x x . x . x . >>
Dununba . . B B . . B . B . B . >>
x . x . x . x . x . x .
M . . . M . . . M . B .
^
Konowule - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break S s T s S s . . . . . .
Jembe 2 . . S . T s . . S . T s
Timeline 1 . . 2 . . 3 . . 4 . .
Bell x . x . x . x . x x . x >>
Sangba B . B . B . B . B B . . >>
x . x . x . x . x x . x
. . . . . . . . . . . .
Bell . x . x . x . x x . x x >>
Dununba . B . B . B . B . . B B
. x X . x x . x X . x x X = optional x
. . . . . . . . . . B B
^
Koreduga - Serge Blanc

Timeline 1 . . 2 . . 3 . .
Break TtT T S s . S s .
Jembe 1 bS . S b T t B s .
Jembe 2 T t . S s . S s .
Timeline 1 . . 2 . . 3 . .
Sangba B . B , M . M . .
Bell x . x x x . x . x >>
Dununba B . B B B . B . B >>
x . x x x . x . x
B . . . M . M . B
Kuku - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T t . t . t T . T t T . . .
Jembe 1 T t . s T t S . T t . s T t S .
Jembe 2 S . T t . . S . S . T t . . S .
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni . . B B . . B B . . B B . . B B
Bell x . x . x . x . x . x . x . x .
Sangba B . . . . . B . B . . . . . B .
^
Bell x . x x . x x . x . x x . x x . >>
Dununba . . . B . . . . . . . . B . B . >>
x . x x . x x . x . x x . x x .
. . . B . . . . . . . . . . . .
Kurubi - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T t . t T t . t T . T . . .
Jembe 1 T t . s T t S . T t . s T t S .
Jembe 2 B . T t B . S s B . T t B . S s
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . . . . . B . B . . . . . B .
^
Bell x . x x . x . x x . x . x x . x
Dununba M . . M . M . . B . B . B B . .
^
Madan - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T t . t T . T t . t T . T .
Jembe 1 B . T t . b S . B . T t . b S .
Jembe 2 S . B s S . T t S . B s S . T t
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . B B . . M . . . B B . . M .
Bell x . x . x . x . x . x . x . x . >>
Dununba M . . B . . B . B . . B . . B . >>
x . x . x . x . x . x . x . x .
B . . B . . M . M . . M . . M .
Marakadon (Take) - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break $ . T t . t T t . S . .
Jembe 1 B . T t S . B . T t S ,
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba . . B . B . . B . B . B
Dununba B . . M . . B B . M . .
Menjiani - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break @ . T t . t T . T t . .
Jembe 1 S . . s S . . s S . T t
Timeline 1 . . 2 . . 3 . . 4 . .
Kenkeni B . . . . B B . . . . B
^
Bell x . x . x x . x x . x .
Sangba B . B . . M . . B . B .
^
Bell . x x . x x . x x . x x
Dununba . B B . . . . . . . B B
^
Sabar - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break $ . B t T . T t . $ . .
Jembe 1 S s B . T t S s B . T t
Jembe 2 S . T t S s S . . . S .
^
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba B . . . B B B . . . B B
^
Bell x . x . x . x . x x . x
Dununba M . B . M . M . B B . .
Sanja - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T . T . T . T . T t S s . .
Jembe 1 T t S . B s S . T t S . B s S .
Jembe 2 S s T t S s . b S s T t S s . b
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . B . . B B . B . B . . B B .
Bell x . x . x x x . x x x . x x x .
Dununba B . . . . M . . . B B . . M . .
Sofa - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break $ . T t . t . t T . T t T . . .
Jembe 2 . . T t . . S . . . T t . . S .
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni B . . . B . . . B . . . B . . .
^
Bell x x . x . x x . x . x . x . x .
Sangba B B . M . . . . B . B . . . . .
Bell x . x . x . x . x . x . x . x .
Dununba . . . . . . B . B . B . B . B .
Sogolon - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break $ . S s . s S s . s . .
Jembe 2 S . S s T t S . S s T t
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba M . B B . . M B . B . . >>
M . B B . B . B . B . .
Bell x . x x . x x . x x . x >>
Dununba B . . . . B B . . . . B >>
x . x x . x x . x x . x
B . B . B . B . B . B .
Soko - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break TtT t T t . T t . T . .
Jembe 1 S . S s T t S . S s T t
Timeline 1 . . 2 . . 3 . . 4 . .
Bell x x . x x . x x . x x . >>
Sangba M . . . . . B B . B B . >>
x x . x x . x x . x x .
M . . . . . M . . B B .
^
Bell x . x x . x x . x x . x >>
Dununba B . . . . B B . B B . B >>
x . x x . x x . x x . x
B . . . . . . . B B . B
^
Soli - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Break @ . T t . t T . T t . .
Jembe 2 . . S . T s . . S . T s
Timeline 1 . . 2 . 4 . 3 . . . .
Kenkeni . . . . B . B . . . B B
Bell x . x . x x . x . x . x
Sangba B . . . M B . M . . . .
^
Dununba B . B B . . . . B B . B
^
Sunu - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break $ . . b T . T . T . T . $ . . .
Jembe 1 T . S s . b S t T . S s . b S t
Jembe 2 . . T t . . S s . . T t . . S s
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . . B . B . . . . . B . B .
Bell x . x x . x . x x . x . x x . x
Dununba B . . B . . . M . . M . M . . B
^
Tiriba - Serge Blanc

Timeline 1 . . 2 . . 3 . . 4 . .
Jembe 1 B s T . s . B s . B s .
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba M . . B B . M . . B B .
Bell x . x . x . x x . x . x
Dununba B . B . B . . M . M . .
^
Unison Drum Call

Source: Serge Blanc
From an arrangment by a national troupe of Ivory Coast.
Note: Djembe and sangba play along together.
The Muff of the sangba on the CD sometimes sounds like a
kenkeni.
Handing based on roll. Could vary
Line x
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe
Sangba
Line 1
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe @ . T t . t . t T . S s T t S .
Sangba . . . . . . . . . . . . . . . .
Line 2
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S s T t S s S . S s T t S s S .
Sangba . . . . . . . . . . . . . . . .
Line 3
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . B B . M . . . . B B . M .
Line 4
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . B B . M . . . . B B . M .
Line 5
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . B B . M . . . . B B . M .
Line 6
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . B B . M . . . . B B . M .
Line 7
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . B B . M . . . . B B . M .
Line 8
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe @ . T t . t . t T . T . T . . b
Sangba . . . . . . . . . . . . . . . B
Line 9
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . T t . b t . T t . b T . T .
Sangba M . . . . B M . . . . B M . M .
Line 10
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . s S s S s S s S s S . . b
Sangba M . . . . . . . . . . . . . . .
Line 11
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . T t . b t . T t . b T . T .
Sangba M . . . . B M . . . . B M . M .
Line 12
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . s S s S s S s S s S . . .s S . . .Sangba M . . . . . . . .
. . . . . . .
Line 13
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe M . . t T . M . . . . t T . M .
Sangba M . . . . . . . B . . . . . . .
Line 14
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . t T . M . . t . t T . M .
Sangba B . . . . . . . . . . . . . . B
Line 15
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . t T . M . . . . t T . M .
Sangba B . . . . . . . B . . . . . . .
Line 16
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . t T . M . . t . t T . M .
Sangba B . . . . . . . . . . . . . . B
Line 17
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . S t . s T . S t . s T . . .
Sangba B . . . . . . . B . . . . . M B
Line 18
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . S t . s T . . . . . . . . .
Sangba B . . . . . . . B B . B B . B .
Line 19
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . S t . s T . S t . s T . . .
Sangba B . . . . . . . B . . . . . M B
Line 20
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . S t . s T . . . . . . . . .
Sangba B . . . . . . . B B . B B . B .
Line 21
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . .tTtS . .tTtS . .tTtS . . .
Sangba B . . . . . . . . . . . . . B B
Line 22
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . .tTtS . S . . . . . . . . .
Sangba B . . . . . . B B . . B B . B .
Line 23
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . .tTtS . .tTtS . .tTtS . . .
Sangba B . . . . . . . . . . . . . B B
Line 24
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . .tTtS . S . . . . . . . . .
Sangba B . . . . . . B B . . B B . B .
Line 25
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . S t . s T . S t . s T . T .
Sangba B . . . . . . . . . . . . . B .
Line 26
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . . . . T . T . T t T . T .
Sangba B . . . . . B . B . B B B . B .
Line 27
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . t . t . t T . T . T . . .
Sangba B . . B . B . B B . B . B . . .
Line 28
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ s S . . . $ s S . . . $ . . .
Sangba . . . . . . . . . . . . . . . .
Line 29
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . . . . T . . . . . T . . .
Sangba B . . . . . B . . . . . B . . .
Line 30
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . t T . S . T . S s S . . .
Sangba B . . . . . . . . . . . . . . .
Line 31
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . . . . T . . . . . T . . .
Sangba B . . . . . B . . . . . B . . .
Line 32
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T . . t T . S . T . S s S . . .
Sangba B . . . . . . . . . . . . . . .
Line 33
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ . $ . . . $ , $ . . . $ . . .
Sangba . . . . . . . . . . . . B . . .
Line 34
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . t T . S . T . S s S . . .
Sangba . . . . . . . . . . . . . . . .
Line 35
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ . $ . . . $ , $ . . . $ . . .
Sangba . . . . . . . . . . . . B . . .
Line 36
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . t T . S . T . S s S . . .
Sangba . . . . . . . . . . . . . . . .
Line 37
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S b . s B . . . S b . s B . . .
Sangba . B . . B . . . . B . . B . . .
Line 38
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ . . . . . T . T . S s S . . .
Sangba B . . . . . . . . . . . . . . .
Line 39
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S b . s B . . . S b . s B . . .
Sangba . B . . B . . . . B . . B . . .
Line 40
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ . . . . . T . T . S s S . . .
Sangba B . . . . . . . . . . . . . . .
Line 41
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S t T s T t S . T . S s S . . .
Sangba . . . . . . . . . . . . . . . .
Line 42
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B b B b B b B b B b B b B . . .
Sangba B . B . B . B . B . B . B . . .
Line 43
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe * . . . . . * . . . * . * . . . *=shaker
Sangba B . . . . . B . . . B . B . . .
Line 44
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S t T s T t S . T . S s S . . .
Sangba . . . . . . . . . . . . . . . .
Line 45
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B b B b B b B b B b B b B . . .
Sangba B . B . B . B . B . B . B . . .
Line 46
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe * . . . . . * . . . * . * . . . *=shaker
Sangba B . . . . . B . . . B . B . . .
Line 47
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe @ . S s . s S s . b S s B . B b
Sangba . . . . . . . . . B M M B . B B
Line 48
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . b B b . b S s . . . . . . . b
Sangba . B B B . B . . . . . . . . . .
Line 49
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe @ . S s . s S s . b S s B . B b
Sangba . . . . . . . . . B M M B . B B ;
Line 50
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . b B b . b S s . . . . . . . b
Sangba . B B B . B . . . . . . . . . .
Line 51
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . B s B . S . B . . . . . . b
Sangba . . . . . . . . . . . B B . . .
Line 52
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . B s B . S . B . . . . . . b
Sangba . . . . . . . . . . . B B . . .
Line 53
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . B s T t T t S . . t . t T .
Sangba . . . . . . . . . . . . . . . .
Line 54
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S . S . S s . . $ . T t . t T .
Sangba . . . . . . . . . . . . . . . .
Line 55
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . T t . t T . $ . . . . . . .
Sangba . . . . . . . . B . . . . . . .
Line 56
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ . . . . . . . $ . T t . t T .
Sangba M . B B B . . . . . . . . . . .
Line 57
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . T t . t T . $ . . . . . . .
Sangba . . . . . . . . B . . . . . . .
Line 58
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe $ . . . . . . . T . S t . s T .
Sangba M . B B B . . . . . . . . . . .
Line 59
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S t . s T . T . T . . . . . . . 2 1/2 is T on CD
Sangba . . . . . . . . . . . . . . . .
Line 60
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S s S . . . . . T . S t . s T .
Sangba . . . B B . . . . . . . . . . .
Line 61
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S t . s T . T . T . . . . . . . 2 1/2 is T on CD
Sangba . . . . . . . . . . . . . . . .
Line 62
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S s S . . . . . S s S . S s S .
Sangba . . . B B B . . . . . . . . . .
Line 63
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe S s S . S s S . . . . . . . . .
Sangba . . . . B B B . . . . . . . . B
Line 64
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . @ . T t . t T .
Sangba B B . . . . . . . . . . . . . .
Line 65
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T t . t T . . . T t T t . . . .
Sangba . . . . . . . . . . . B B . M .
Line 66
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . . . . . . . . .
Sangba B . . B B . M . B . . B B . M .
Line 67
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . T t T t . . . .
Sangba B . . B B . M . B . . B B . M .
Line 68
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . . . . . . . . .
Sangba B . . B B . M . B . . B B . M .
Line 69
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . T t T t . t T .
Sangba B . . B B . M . B . . B B . M .
Line 70
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T t . t T . . . T t T t . . . .
Sangba B . . B B . M . B . . B B . M .
Line 71
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . . . . . . . . .
Sangba B . . B B . M . B . . B B . M .
Line 72
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . T t T t . . . .
Sangba B . . B B . M . B . . B B . M .
Line 73
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . . . . . . . . .
Sangba B . . B B . M . B . . B B . M .
Line 74
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . T t T t . t T .
Sangba B . . B B . M . B . . B B . M .
Line 75
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe T t . t T . . . T t T t . . . .
Sangba B . . B B . M . M M M M . . . .
Line 76
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . B . . . . . . . . . B . B .
Sangba . . . . . . B B . . . . . . . .
Line 77
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . B . B . B . B .
Sangba . . B B . . . . . . . . . . . .
Line 78
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . . . . . . . B . B . B . B .
Sangba . . B B . . . . . . . . . . . .
Line 79
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . . . . . . . . . . . . . . .
Sangba . . B B . . B B . . B B . . B B
Line 80
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . . . . . M . . .
Sangba . . B B . . B B . . B B . . B B
Line 81
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . B . . . . . . . . . B . B .
Sangba . . B B . . B B . . B B . . B B
Line 82
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . B . B . B . B .
Sangba . . B B . . B B . . B B . . B B
Line 83
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . . . . . . . B . B . B . B .
Sangba . . B B . . B B . . B B . . B B
Line 84
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . . . . . . . . . . . . . . .
Sangba . . B B . . B B . . B B . . B B
Line 85
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . . . . . M . . .
Sangba . . B B . . B B . . B B . . B B
Line 86
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . B . . . . . . . . . B . B .
Sangba . . B B . . B B . . B B . . B B
Line 87
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe . . . . . . . . B . B . B . B .
Sangba . . B B . . B B . . B B . . B B
Line 88
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . . . . . . . B . B . B . B .
Sangba . . B B . . B B . . B B . . B B
Line 89
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Jembe B . . s S s . . . . . . . . . .
Sangba . . . M M M . . . . . . . . . .
Wasulunke - Serge Blanc
Timeline 1 . . 2 . . 3 . . 4 . .
Break T t . T t . T t . T . .
Jembe 1 S . S . T t S . S . T t
Jembe 2 . t T . S s . t T . S s
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba B . . B . . B . . B . .
Bell x . x . x x . x . x . x
Dununba B . M . B B . M . M . B
^
Yabara - Serge Blanc
Timeline 1 . . 2 . . 3 . . 4 . .
INTRODUCTION
Jembe 1 tTt T . T . T . S s . s >>
S . . . . s S . S s . .
Jembe 2 . . . . . . . . S s . s >>
S . . . . s S . S s . .
Kenkeni . . . . . . . . B B . B >>
B . . . . B B . B B . .
Bell . . . . . . . . x x . x >>
Sangba/Dun . . . . . . . . B B . B
x . . . . x x . x x . x
B . . . . B B . B B . B
PARTS
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe 1 T s , b S . T s , b S ,
Jembe 2 S . T t . . S . T t . .
Timeline 1 . . 2 . . 3 . . 4 . .
Bell x . x . x . x . x x . x
Sangba B . M . M . M . B B . B
Dununba B . . . . . B . . . . .
Zawuli Feet - Serge Blanc

1 . . 2 . . 3 . . 4 . .
1 T T T T T T T T T S . .
Dun . . . . . . . . . . . .
2 T . S S S . S . . B B B
Dun . . . . . . . . . B . B
3 B B B . . . . . . . . B
Dun B . . . . . . . . . . .
4 T . S S S . S . . B B B
Dun . . . . . . . . . B . B
1 . . 2 . . 3 . . 4 . .
5 B B B . . . S S . B B B
Dun B . . . . . . . . B . B
6 B B B . . . S S . B B B
Dun B . . . . . . . . B . B
7 B B B . . . . . . . . .
Dun B . . . . . . . . . . .
8. M . . . . . M . . B . B
Dun . . . . . . . . . B . B
1 . . 2 . . 3 . . 4 . .
9 B . . . . . . . . . . .
Dun B . . . . . . . . . . .
10 M . . . . . M . . B . B
Dun . . . . . . . . . B . B
11 B . . . . $ . T T T . .
Dun B . . . . S . . . . . . S = sangba
12 $ . . . T T T . . B . B
Dun S . . . . . . . . B . B
1 . . 2 . . 3 . . 4 . .
13 B . . . . $ . T T T . .
Dun B . . . . S . . . . . .
14 $ . . . T T T . . B . B
Dun S . . . . . . . . B . B
15 B . . . S S B S S B S S
Dun B . . . . . B . . B . .
16 B S S B S S B . . B . B
Dun B . . B . . B . . B . B
1 . . 2 . . 3 . . 4 . .
17 B . . . T T S T T S T T
Dun B . . . . . S . . S . .
18 S T T S T T S . . B . B
Dun S . . S . . S . . B . B
19 B . . $ . $ . T T T . .
B . . . . . . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
20 B . S S S . B . S S S . B . S S
Dun B . . . . . B . . . . . B . . .
21 S . . . M . . . M . . . M . . .
Dun . . . . S . . . S . . . S . . .
22 B . S S S . B . S S S . B . S S
Dun B . . . . . B . . . . . B . . .
23 S . . . M . . . M . . . M . . .
Dun . . . . S . . . S . . . S . . .
1 . . . 2 . . . 3 . . . 4 . . .
24 B . S S S . B . S S S . B . S S
Dun B . . . . . B . . . . . B . . .
25 S . . . T . S S S . S S S . . .
Dun . . . . S . . . . . . . . . . .
26 T . S S S . S S S . . . T . S S
Dun S . . . . . . . . . . . S . . .
27 S . . . T . S S S . . . T . S S
Dun . . . . S . . . . . . . S . . .
28 S . T T . T T . S
Dun S . . . . . . . S
Zawuli Hands - Serge Blanc
Timeline
1 . . . 2 . . . 3 . . . 4 . . .
1 $ . T T . T . T T . T . S . . .
2 M . . . M . . . M . . . M . . .
3 T . S S S . S S S . . . T . S S
4 S . S S S . . . M . . . . . M .
1 . . . 2 . . . 3 . . . 4 . . .
5 . . . . T . S S S . . . . . . .
6 . . . . . . . . T . S S S . S S
7 S . . . T . S S S . S S S . . .
8 M . . . . . M . . . . . T . S S
1 . . . 2 . . . 3 . . . 4 . . .
9 S . . . . . . . . . . . S . S .
10 T T T T S . S . T T T T S . S .
11 T T T T S . . . . . . . S . S .
12 T T T T S . S . T T T T S . S .
1 . . . 2 . . . 3 . . . 4 . . .
13 T T T T S . . . . . . . M . . .
14 M . . . M . . . . . . . S . T T
15 T . T T T . . . . . . . M . M .
16 M . M . M . . . . . . . S . T T
17 T . T T T . . . S S S . . . . .
1 . . 2 . . 3 . . 4 . .
18 T T T T S S S S T T T T
19 S S S S T T T T S S S S
20 $ . $ . T T T . . . . .
21 M . . . . . M . . B . B
1 . . 2 . . 3 . . 4 . .
22 B . . . T T S T T S , .
23 M . . . . . M . . B . B
24 B . . . . S . T T T . .
25 S . . . T T T . . B . B
1 . . 2 . . 3 . . 4 . .
26 B . . . . S . T T T . .
27 M . . . T T T . . B . B
28 B . . . @ . S S . S S .
29 S S . S S . S . . B . B
1 . . 2 . . 3 . . 4 . .
30 B . . . @ . T T . T T .
31 T T . T T . S . . B . B
32 B . $ . $ . . T T T . .
Short and Long Bell
Short Bell
1 . . 2 . . 3 . . 4 . .
BELL X . X . X X . X . X . X
Long Bell
1 . . 2 . . 3 . . 4 . .
BELL X . X . X . X X . X . X
"SAME"
The Short Bell and Long Bell are
really the same pattern - each starts
in a different place relative to the beat:
Short Bell
BELL X . X . X X . X . X . X
^
Long Bell
BELL X . X . X . X X . X . X
^
DIFFERENT PULSE:
Short Bell
1 . . . 2 . . . 3 . . .
BELL X . X . X X . X . X . X
1 . . 2 . . 3 . . 4 . .
X . X . X X . X . X . X
Long Bell
1 . . . 2 . . . 3 . . .
BELL X . X . X . X X . X . X
1 . . 2 . . 3 . . 4 . .
X . X . X . X X . X . X
Sinte
One break:
Break X . . . X . . . X . . . X . . .
@ . T T . T . T T . T . T . . .
X . . . X . . . X . . . X . . . X . . .
Djembe S . . t S . S . S . . t S . S . S . . . >> t or b
T t . . T t . . T t . . T t . . >> into parts
Duns follow along
Rhythm:
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 T t . S b . S . b . . S b . S .
Jembe 2 B . . . b . . . T t . T t . . . >>
B . . . b . . . B . . . T t . .
Ballet Duns
1 . . . 2 . . . 3 . . . 4 . . .
D D . S K . K . M . M S K . K D
^
M =kenkeni muff
SOBONINKUN (Ballet)
Soboninkun is a mask dance played after a big harvest is brought into a
village. A very skilled, trained dancer travels from village to village and is
rewarded with food and gifts for his performance.
Ballet Duns
1 . . . 2 . . . 3 . . . 4 . . .
Break: @ . T T . T . T T . S S S . . .
Dun: . . . . . . D . . . . . D . D . (one time)

K K . S . . D . . . . . D . D . >>
K K . S . . D . . . . . D . D . >>
K K . S . . D D . D . D D . D . >>
Jembe: 1 . . . 2 . . . 3 . . . 4 . . .
S . . S TT. T T S . . S TT. T T
1 . . . 2 . . . 3 . . . 4 . . .
Jembe: S . . S S . T T S . S S . . T T
Traditional Duns
Break:
1 . . . 2 . . . 3 . . . 4 . . .
@ . t t . t . t t . s s s . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell: x . x x x . x x x . x x x . x x
Dun: . . . . . . D . . . . . . . D .
1 . . . 2 . . . 3 . . . 4 . . .
Bell: x . x x x . x x x . x x x . x x
Sangba: M . . M . . . S . . S S . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell: x x . . x x . . x x . . x x . .
Kenkeni: M . . . K K . . M . . . K K . .
^
Sofa
Rhythm for the warrior. Horses are said to dance to this rhythm.
Dununba
1 . . . 2 . . . 3 . . . 4 . . .
x x . x x . x . x . x . x . x .
. . . . . . B . B . B . B . B .
Dununba - every nth time
1 . . . 2 . . . 3 . . . 4 . . .
x x . x x . x . x . x . x . x x
. . . . . . B . B . B . B . B B >>
. x . x . x . x x . x . x . x .
. B . B . B . B B . B . B . B .
Dununba - another variation of nth time

1 . . . 2 . . . 3 . . . 4 . . .
x x . x x . x . x . x . x . x .
. . . . . . B . B . B . B . B . >>
x x . x . x . x . x x . x . x .
. B . B . B . B . B B . B . B .
Sangba
1 . . . 2 . . . 3 . . . 4 . . .
x x . x x . x . x . x . x . x .
B B . . . . . . B . B . . . . .
Sangba Enchauffement
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x x . x x . x .
B . . B . . B . . B . . B . . .
Sangba variation
1 . . . 2 . . . 3 . . . 4 . . .
x x . x x . x . x . x . x . x .
B B . . . . M . B . B . . . . .
Sangba variation
1 . . . 2 . . . 3 . . . 4 . . .
x x . x x . x . x . x . x . x .
B B . . M . . . B . B . M . . .
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
x . x x . x x . x . x x . x x .
. . B B . . M . . . B B . . M .
Jembe 1
1 . . . 2 . . . 3 . . . 4 . . .
S . . S S . B . S . T T S . B .
Jembe 2
1 . . . 2 . . . 3 . . . 4 . . .
S . . S S . T T S . . S S . T T
Jembe part
1 . . . 2 . . . 3 . . . 4 . . .
B . T T . . S . . . T T . . S . >> B optional
. . T T . . S . . . T T . . S .
Jembe part variation

1 . . . 2 . . . 3 . . . 4 . . .
T T S S . . S . T T . S B . S .
Some Solo Phrases
Structure: 5 measures plus basses:
1 . . . 2 . . . 3 . . . 4 . . .
B S . B S . S . TTT S . TTT S .
S S . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
T T . S T T S . T T . S T T S .
S S . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
B S S . B S S . B S T T B S S .
S S . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
T S . T T S . T S . T S . T S .
S S . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
SSS S S . T . S . T . S . T . T
S S . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
B S S S T T S . B S S S T T S .
T T . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
B S S S . S S S . S S S . S S .
T T . . B . . . B . . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
S S . S B . . B S . S . T T T T
S S . . B . . . B . . . B . . .
Soko (Ballet version)
4 . . 1 . . 2 . . 3 . . 4 . .
Break: S . . TTT T T T . T T . T . .
1 . . 2 . . 3 . . 4 . .
Duns: D . D D . K S . D D . D
D . D D . K S . K S . D
^
1 . . 2 . . 3 . . 4 . .
Jembe 1 S . S S T T S . S S T T
Jembe 2 S . T S . . S . T S . .
Soli
Played for young boys' rites of passage.
Time 1 . . 2 . . 3 . . 4 . .
Break @ . T t . T t . T t . .
Time 1 . . 2 . . 3 . . 4 . .
x . x x . x x . x x . x
Sangban O . . . C . C . . O . .
Time 1 . . 2 .
. . 3 . 4 . .
. x x . x
x x . x . x x
Kenkeni . . . . O
. O . . . O O
Time 1 . . 2 .
. . 3 . 4 . .
x . x x .
x x x . x . x
Dununba O . O . .
O . . . O . O
lead-in ^
Time 1 . . 2 . . 3 . . 4 . .
Accomp 1 S . T s . . S . T s . .
Accomp 2 S . . s T t S . . s T t
Solo phrases for Soli/Suku

Time 1 . . 2 . . 3 . . 4 . .
@ . T t . T t . T t . .
B . S . T s . . S b . s >>
B . S . T s . . S b . s >>
B . S . T s . . S b . s >>
B . S . T s . . S b . . >>
@ . T t . T t . T t . s >>
Time 1 . . 2 . . 3 . . 4 . .
T t S . . s . . S b . s >>
T t S . . s . . S b . s >>
T t S . . s . . S b . s >>
T t S . . s . . S b . s >>
Time 1 . . 2 . . 3 . . 4 . .
T t S t T s . . S b . s >>
T t S t T s . . S b . s >>
T t S t T s . . S b . s >>
T t S t T s . . S b . s >>
Time 1 . . 2 . . 3 . . 4 . .
TtT s TtT s . . S b . s >>
TtT s TtT s . . S b . . >>
Time 1 . . 2 . . 3 . . 4 . .
T s S t S s T s S t S s >>
T s S t S s T s S t S . >>
@ . T t . T t . T t . . >>
$
Soli Boba
1 . . 2 . . 3 . . 4 . .
Break @ . T t . T t . T t . .
1 . . 2 . . 3 . . 4 . .
Jembe 1 B . S . . s . . S b T t
Jembe 2 B . . . S s B . . . S s
1 . . 2 . . 3 . . 4 . .
x . x . x . x . x x . x >>
Sangba B . B . B . B . B B . . >>
x . x . x . x . x x . x
M . . . M . M . . M . .
1 . . 2 . . 3 . . 4 . .
. x . x . x . x x . x x >>
Dun . B . B . B . B B . B B >>
. x x . x x . x x . x x
. . . . . . . . . . B B
^
Soli de Manian
East Guinea. Soli version of the Manian people. Used for circumcision rites.
Mamady says (9/98) that circumcisionrites are not religious in nature. When
Islam came to the region, some people got the notion that females had to be
circumcised in order to conform to Islam. This is false, but people now confuse
culture with religion. The rhythm is different from Soli. It is the same
ceremony, but the Manian people play a different rhythm.
Taught by Mamady Keita 21 Sept 1997 College Park MD

Beginner/Intermediate class
Transcribed by Rodger Osgood
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x . x . x x . x . x . x |
Kenkeni |C . . . O O . O . O . . |
|x . x . x x . x . x . x x . x . x x . x . x . x |
Dununba |. . . . . . . . . . . O O . . . . . . . . . . . |
lead in ^
I asked if there were Dununba variations, and at first Mamdy said no,
then said there was only one variation and played the following
occasionally while demoing the three dunnun
parts:
|x . x . x x . x . x . x x . x . x x . x . x . x |
Dununba O . O . . O . O . O . O O . . . . . . . . . . .
variation
Accomp 1 |B t T b S . B t T b S . |
Accomp 2 |S . T t . . S . T t . . |
Soliwoulen
Rhythm of a master fetish maker ("Red Panther").
Intro/Break
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . T . T . . B
1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . .
S . S S . B S . S S . B S . S S . B S . S S . B S S . .
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . T . T
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 S . s S . s T t S . s S . s T t
1 . . . 2 . . . 3 . . . 4 . . .
Dun B . . . . . B . B . . . . . B .
Sangba . . B B . . M . . . B B . . M . (Famadou version)
Sangba B . B B . . B . B . B B . . B . (Mamady version)
Kenkeni B B . . . . . . B B . . . . . . (Famadou version)
Kenkeni B . . . B . . . B . . . B . . . (Mamady version)
Some Solo Phrases

1 . . . 2 . . . 3 . . . 4 . . .
T T S S S S S S T T S S S S S S repeat x times
S S S S S S S S S S S S S S S S repeat x times
S S . . S S . . S S . . M . . . repeat x times
TTTT. T S . S . S . S . S . S . repeat x times;
drop last S last time
S TTT . S SSS . S TTT . S SSS . . repeat x times
. M . M . M . M . M . M . M . M repeat x times,
drop last M last time
@ . T T . T . T T . T . T . . . break
Somono Exercise
Exercise based loosely on a version on Somono.
Time 1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T T . T . T T . T . T . . .
Dun/Sangba B . B . S .
. . . S . . . . S . >>
. . S . . .
. S . S . . S S . S
Time 1 . . . 2 .
. . . 3 . . 4 . . .
Jembe 1 . . S S B .
S S S . . S B . S S
^
Jembe 2 B . T T . . S . B . T T . . S .
SORSORNET
From Madou Dembele, Des Moines, 2000/ FF 2003
Rhythm of daughters praising mothers for having raised them right.
Can be heard in "2" or "3"

BREAK
1 . 2 . 3 . 4 . 5 . 6 .
CALL T t T t T t T t T t . .
RESPONSE B b B . B b B . B b B . >>
B b B . S . S . S . S . >> into rhythm
Djembe 1 S s S s T t S s S s T t
Djembe 2 B B B . T T . . . . T T >> once only
B . B . T t . . . . T t
1 . 2 . 3 . 4 . 5 . 6 .
Sanbga . . . . S . . . . . S .
Kenkeni . . . . . . M . M . . .
Dun B B B . . . . . . . . .
BREAK 2
1 . 2 . 3 . 4 . 5 . 6 .
LEAD T t T t T t T t T t . .
ALL B b B . B b B . . S S . >>
. S S . B . S . . S S . >>
. S S . B . S . B . S . >> into rhythm
B b B
BREAK 3
1 . 2 . 3 . 4 . 5 . 6 .
ALL B b B . . . . . . . . .
B b B . . . . . . . . .
B . S . B . . . S . . .
B B B . . . . . . . . .
B b B . . . . . . . . .
B . S . B . . . S . . . >> into rhythm
B B B .
Mamady Break
ALL B b B . B b B . B b B .
B b B . B b B . B b B . >> into rhythm
B b B .
Same in 3:
1 . . 2 . . 3 . . 4 . .
CALL T t T t T t T t T t . . Can have extra T
RESPONSE B b B . B b B . B b B .
B b B . S . S . S . S . >>
1 . . 2 . . 3 . . 4 . .
Djembe 1 S s S s T t S s S s T t
1 . . 2 . . 3 . . 4 . .
Djembe 2 B B B . T T . . . . T T >> once only
B . B . T t . . . . T t
1 . . 2 . . 3 . . 4 . .
Sanbga . . . . S . . . . . S .
Kenkeni . . . . . . M . M . . .
Dun B B B . . . . . . . . .
Second Ballet Duns

1 . 2 . 3 . 4 . 5 . 6 .
postBreak D D D . S . . . D D D . >>
D D D . S . . . D . S .
SUNU TRADITIONAL
2005 Madou Dembele
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . T . T . . B >> After break, all drums respond
B . B B . B . B B . B . B . . B >>
into part: B . . B . . . M . . M . M . . B >>
OR
1 . . . 2 . . . 3 . . . 4 . . .
@ . T T . T . T T . T . T T . B >>
B . B B . B . B B . B . B B . B >> extra bass after 4
into part: B . . B . . . M . . M . M . . B >>
1 . . . 2 . . . 3 . . . 4 . . .
Dun var B . B B . B . B . . M . M . . B on occasion
Kenkeni 1 . . . 2 . . . 3 . . . 4 . . .
x . x . x . x . x . x . x . x .
B . . . B . . . B . . . B . . .
Kenkeni
Var 1 . . . 2 . . . 3 . . . 4 . . .
M . . B . B . B . . M . B . B . comes in on the 4 after break
^
1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . . . . . B . B . . . . . B .
x . x x . x x . x . x x . x x .
1 . . . 2 . . . 3 . . . 4 . . .
intro . . . . . . . . . . . . . . . B
B . B B . B . B B . B . B . . B
into part: B . . B . . S T T . S S . B S T >>
jembe 1 T . S S . B S T T . S S . B S T Micro-timing/swing
jembe 1alt T . S S . B S T T . S S B B S T
1 . . . 2 . . . 3 . . . 4 . . .
jembe 2 . . . . . . . . . . . . . . . B
B . B B . B . B B . B . B . . B
into part: B . . B . . T T S . . S S . T T >>
S . . S S . T T S . . S S . T T
or
1 . . . 2 . . . 3 . . . 4 . . .
jembe 2 . . . . . . . . . . . . . . . B
B . B B . B . B B . B . B . . B
into part: B . . B . . . . @ . . . @ . . . >>
@ . . . @ . . . @ . . . @ . . . Loose flam
Sunu (Osei's Version)

Break
1 . . . 2 . . . 3 . . . 4 . . .
Lead @ . T t . T . t T . t . T . . . >>
$ . . . . . . . . . . . . . . .
Response . . . T t . T . t . T . t . . T >>
(all) t . T t . . >> duns come in...
repeat all, then djembes come in
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 T . S s . . S t T . S s . . S t
^
Djembe 2 1 . . . 2 . . . 3 . . . 4 . . .
S s . . T . T . S s . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . . M . . B . B . . M . . B .
^
1 . . . 2 . . . 3 . . . 4 . . .
Dun . . . B B . B . B . B . B . . B >>
B . B B . . . . . . . . . . . .
^
Break again, tempo speeds up.
Sunu - Serge Blanc

Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Break $ . . b T . T . T . T . $ . . .
Jembe 1 T . S s . b S t T . S s . b S t
Jembe 2 . . T t . . S s . . T t . . S s
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
Sangba . . . . B . B . . . . . B . B .
Bell x . x x . x . x x . x . x x . x
Dununba B . . B . . . M . . M . M . .
B
^
----------------------------------------------------------
SUNU
SUNU - Madou Dembele Modern Version
1 . . . 2 . . .
DJ1 T t S s B . s .
DJ2 S . . S s . T t
DJ3 b . T t . . S .
^
Intro: Standard Break
Break
1 . . . 2 . . . 3 . . . 4 . . .
& . & . & . & . & . & . $ . . . Where & = Bass/Slap
End
1 . . . 2 . . . 3 . . . 4 . . .
& . & . & . & . & . & . $ . . . >> Where & = Bass/Slap
----------------------------------------------------------------
John Feddersen (fedstart@nando.net) from Modibo Keita
4/4 |: . . . * . . . | . . . * . . . :|
_ _ _ _ _ _ (lead-in) S >>
Djembe-1 S . O O S . . S S . O O S . . S
_ _ _ _ _ (lead-in) O >>
Djembe-2 O . S S . B S O O . S S . B S O
Bell x . x x . x x . x . x x . x x .
Kenkeni O . . M . . O . O . . M . . O .
(lead-in) O >>
Junjun O . . . . . . . . . . . . . . O >>
(cont'd) O . . . . . . . . . . . O . . O >>
O . . O O . O . O . O . O . . O
Djembe/Junjun call-response lead-in:
Djembe S S S S . S . S S . S . S . . O
Junjun . . . . . . . . . . . . . . . O >>
Djembe O . . O O . O . O . O . O . . (main
rhythm)
Junjun O . . O O . O . O . O . O . . (main
rhythm)
VARIATIONS:
Two variations of the djembe 2 pattern, taught by Mamady Keita in Giessen,
Germany, November 1997:
|O . S S . . S O O . S S B . S O| Djembe 2
|O . S S . B S O O . S S B . S O| Djembe 2, variation 1
|O . S S . B S O O . S S B B S O| Djembe 2, variation 2
NAME OF RHYTHM: Sunu (Sounou, Sunun)

COUNTRY: Northern Mali, bordering Mauretania (Donkili)
Kayes region of Mali (Tambour Djembe, Karamba Diabate, Abdoul
Doumbia)
Border region between Guinea and Mali (Mamady Keita)
OTHER NAMES:
REGIONAL/ETHNIC GROUPS:
Kagooro, descendants of the Bamana (Donkili)
Soninke (Tambour Djembe, Karamba Diabate)
Kakolo and Maraka (Abdoul Doumbia)
Bambara people of Mali (Mark Sunkett)
PURPOSE/BACKGROUND:
This very popular rhythm is believed to date back to the pre-colonial era. At
that time, in the village of Sagabari, there was a pretty young girl named Sunu
Mamady (her father had the same name). Everyone loved her, and her qualities
as a dancer were greatly appreciated. No festivity could take place without
her participation. This rhythm was created in her honor by a djembefola troupe
in her village. The dance is played to celebrate good harvests. It is a moment
for young girls to demonstrate their grace and beauty, sometimes even their
provocativeness, and for young boys, especially in the Kaarta circle, to
demonstrate their strength and vigor and show their acrobatic prowess. (Le
Tambour Djembe)
This is a folk rhythm of welcome that is played on traditional feast days such
as Ramadan, Tabaseki (the Sheep festival), marriages, baptisms, etc. (Mamady
Keita)
A popular celebration rhythm. (Karamba Diabate, Mandiani Drum & Dance))
A dance of rejoicing performed by the men and women of Karta after harvest.
(Mamadou Kante)
RELATED RHYTHMS:
SONG LYRICS:
Meyaee, Meyaee, Meyaee sunubeniima
Meyaee, Meyaee, Meyaee sunubeniima
Meyaee, Meyaee,kaluyafo londo
Kaluyafo Kaluye n'dyarabi fee Konakry
Meyaee, Meyaee, Meyaee sunu beni maa
"The Sunu dance suits you well, Meyaee (a girl's name). Say hello to my
friends in Conakry for me."(Mamady Keita)
Tansole
The Tansole rhythm is from the Bambouk mountainous region of Mali and is
performed in association with a transfer of social power between women.
One version:
1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni B . B B . . M . B . B B . . M .
1 . . . 2 . . . 3 . . . 4 . . .
Dununba . . . B . B . B B . B . B . B . >>
. . . . . . . . . . . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Sangba M . . . . .(B).(M). . . . .(B). >>
M . . . . . B . M . . . . . B .
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 S . . S S . T T S . . S S . T T
Djembe 2 B . T T . . S . B . T T . . S .
Tiriba - Michael Markus
Timeline 1 . . 2 . . 3 . . 4 . .
Break T . T . . b S s S s . b >>
S t T s T t S s . S . . >>
Jembe 1 S . T t T t S b . b . b
^
Jembe 2 B s . T s . B s . T s .
Jembe 3 B . . b T t B . . b T t
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba . . . B . . . . . B . . comes in on 4
^
Dununba B . . . B . B . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Intro . . . . . . . b S t T s S . . . >>
S . T t S . . b S t T s S . . . >>
S . T t S . . b S t T s S . . . >>
S . T t S . . b S t T s S . . . >>
S . T t S . . . T . T . S s . t >>
T . S . T . S s S . . . T . S s >>
S . . . T . S s S . . . . . . . >>
T . S s S . . . T . S s S . . . >>
T . S s S . . . . . . . . . . . >>
1 . . 2 . . 3 . . 4 . .
bS . s B t T b S . B t T >>
bS . s B t T b S s B . . >>
bS . s B t T b S . B t T >>
bS . s B t T b S s B . b >>
1 . . 2 . . 3 . . 4 . .
T t T t T t . . @ . . b >>
S s S s S s . . $ . . b >>
T t T t T t . . @ . . b >>
S s S s S s . . $ . . b >>
1 . . 2 . . 3 . . 4 . .
S s . . S s T t S s . b >>
S s . . T t S t T s . b >>
1 . . 2 . . 3 . . 4 . .
S s B s S b S s B t T b >>
S s B s S b S s B t . . >>
1 . . 2 . . 3 . . 4 . .
Break T . T . . b S s S s . b >>
S t T s T t S s . S . . >>
Fast Tempo
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe 1 S s . . T t S s . . T t
Jembe 3 B . . b T t B . . b T t
Tiriba - Serge Blanc
Timeline 1 . . 2 . . 3 . . 4 . .
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba M . . B B . M . . B B .
Bell x . x . x . x x . x . x
Dununba B . B . B . . M . M . .
Tiriba - Mamady
Timeline 1 . . 2 . . 3 . . 4 . .
x x . x x . x x . x x .
Sangban C . . O . . C . . O . .
x x . x x . x x . x x .
Kenkeni O O . C . . O O . C . .
x x . x x . x x . x x .
Dununba O . . . O . O . . . . .
Variation x x . x x . x x . x x .
Dununba O . O . O . O . . . . O
Timeline 1 . . 2 . . 3 . . 4 . .
Jembe 2 B . . t S . B . . t S .
Jembe 3 B . S b T t B s . b T t
Mid-Break - Fair approximation
Timeline 1 . . 2 . . 3 . . 4 . .
Signal $ . . . . . . . . . . . >
$ . . . . . . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Call T . S S S . T . S S S . T . S S >>
S . . . B . B . B . B . B . . . >> Basses respond
T . S S S . T . S S S . T . S S >>
S . . . B . B . B . B . B . . . >>
T . S S S . B . B . . . T . S S >>
S . B . B . . . $ . . . B . . . >>
$ . . . B . . . $ . $ . . . B . >>
B . . . $ . $ . . . B . B . . S >> simplified call
S . . S S . S . T . T . S . . . >> rhythm
Djoliba tune' a madima wunde nama

Djoliba foriya kah n'khaniba
Djoliba mayala Djoliba
Djoliba foriya kah n'khaniba
Notes:
PURPOSE/BACKGROUND (FROM M. WALL):
A rhythm of the Landouma people of western coastal Guinea. There are three
stages of history to Tiriba. Tiriba was the name of a man. At first the rhythm
was a mask dance. Tiriba would go around and visit different villages after the
harvest time with drummers to play and dance. When Tiriba died, the rhythm and
dance lived on and were named after him. Over time, the context of the dance
has changed. Tiriba (the rhythm and dance) became a dance for girls after their
initiation. Their mothers would organize a party and the young women would
dance to show gratitude to their mothers and confirm that they were now women.
They would come together with their mothers to honor them: "Thank you mother,
now I know what I didn't know before, I am a woman now." Today, Tiriba is a
general dance of celebration played at all kinds of occasions, weddings,
Ramadan, etc. (Adam Rugo from Mamady Keita)
Traditionally, there were no dunduns (sangban, kenkeni, or dununba) played on

Tiriba. Instead there was a single bass drum called a "Drama". It is a large,
one headed, open bottom drum with goat skin, that is played by hand, not with a
stick. This drum is also used instead of dunduns by the peoples of western
Guinea for rhythms like Kakilambe, Sorsenet, and Yankadi/Macru. (Doug Kane
from Mamady Keita)
Traditionally, the Tiriba is not played on the djembe but on smaller drums made
of stretched deerskin with wooden corners. It is played for circumcisions and
also during the medicine men's important festivals and ceremonies. (Blanc)
...a dance for young girls with their mothers after their initiation. (snip)
Mamady did say that this rhythm has now become one that is played at all kinds
of celebrations. (Bob Boyd)
Tiriba is a Landuman people's rhythm (from W. Guinea). Traditionally danced by

girls with their mothers after girls' initiation; indicates to the mothers that
they know the "secrets" of womanhood. Popularly danced now in welcoming
Ramadan, marriages, harvest ceremonies. (Pam Nishikawa from Mamady Keita)
TORO
From Internet Posting:
(accent on last syllable)
This song is played during the initiation period for young boys. After they are
circumcised, they go into the forest for a 3 month initiation period. During
this
time they are taught respect and knowledge of life, including plant lore, how
to
recognize bird songs, and making signs out of rocks and stones to tell others
of
danger up ahead on forest paths.
INTRO
From Famadou Recording
1 . . . 2 . . . 3 . . . 4 . . .
BREAK @ . T T . T . T T . T . T . . B >>
Dun . . . . . . . . . . . . . . . B
Jembe S . B S . B S . B S . . T T . B >>
Dun X . B X . B X . B X . . B B . B X is rim strike
Jembe S . B S . B S . B S . . T T . . >>
Dun . . B . . B . . B . . . B B . .
Jembe M . M . M . M . M . T T T . . . >>
Dun . . . . . . . . . . B B B . . .
Jembe M . M . M . M . M . T T T . . . >>
Dun . . . . . . . . . . B B B . . .
Jembe S . T T T . S . T T T . S . . . >>
Dun . . B B B . . . B B B . . . . .
Jembe S . T T T . S . T T T . S . . . >>
Dun . . B B B . . . B B B . . . . .
Jembe S . T T T . S . T T T . S . . . >>
Dun . . B B B . . . B B B . . . . .
BREAK @ . T T . T . T T . T . T . . . >>
Dun . . B B B . . . B B B . . . . . plays during break
Mamady Parts
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 S . . b S . S . S . . . b S . S one time only
T t . b S . S . S . . . b S . S
1 . . . 2 . . . 3 . . . 4 . . .
Bell x x . x x . x . x . x . x . x . >>
Sangba B B . . M . M . M . . . B . B . >>
x x . x x . x . x . x . x . x .
B B . . M . M . M . . . M . M .
1 . . . 2 . . . 3 . . . 4 . . .
Bell x x . x x . x . x . x x . x x . >>
Dun B B . . . . . . . . B B . B B . >>
x x . x x . x . x . x . x . x .
B B . . . . . . . . . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x x . x x . x . x x . x x .
Kenkeni . . B B . . M . . . B B . . M .
Trance
This is a made-up rhythm. Good warmup exercise or drum circle rhythm.
Time 1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 B . T t B . T t B . T t B . T t
Jembe 2 T t . b T t B . T t . b T t B .
Warmups in 3
Walking Rhythm
1 . . 2 . . 3 . . 4 . .
B t T b T t B t T b T t
Varations: use Slaps for either or both tones.
6/8
1 . . 2 . . 3 . . 4 . .
B . S b T t B . S b T t
Hand Part (Gbegbe and others)
1 . . 2 . . 3 . . 4 . .
B . . b T t B . . b T t
. . . . . . . . . . . . . . . . . .
S s T t S s S t T s S t T s S s T t
WASSALONGA (N'GRI)
From Mali, the Buguni people.
Song to greet the king.
Old people dance in a formal prescribed way to it.
From Madou Dembele
LONG INTRO ARRANGEMENT
BREAK 4 . . 1 . . 2 . . 3 . . 4 . .
$ . . T . T . . T . T . T . .
DUNS ALONE:
1 . . 2 . . 3 . . 4 . .
^
DUN B . . B . . B . . B . .
After a while:
Signal 4 . . 1 . . 2 . . 3 . . 4 . .
$ . . T . T . . T . T . T . . >>
Djembes 1 . . 2 . . 3 . . 4 . .
. . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . B SSS S $ . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . B SSS S $ . B SSS S >>
$ . . . . . . . . . . . >>
1 . . 2 . . 3 . . 4 . .
BREAK T . T . . T . T . T . . >>
INTO RHYTHM
1 . . 2 . . 3 . . 4 . .
DJ1 S . s . T t S . s . T t
^
DJ2 B S S B T T B S S B T T
^
VARIATION: (base solo phrase)
1 . . . 2 . . . 3 . . . 4 . . .
DJ3 B . . s B . . . T . t . Tt. . .
ENDING
1 . . 2 . . 3 . . 4 . .
ENCHAUFFMENT T S S T S S T S S T S S >>
T S S T S S T S S S . . >>
SIGNAL T . T . . T . T . T . . >> DOUNS CONTINUE
Djembes 1 . . 2 . . 3 . . 4 . .
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . . . . . . . . . . . >>
. . . . . . . . B SSS S >>
$ . B SSS S $ . B SSS S >>
$ . B SSS S $ . B SSS S >>
$ . B SSS S $ . B SSS S >>
$ . B SSS S $ . T S . . >>
1 . . 2 . . 3 . . 4 . .
T S S T S S T S S S . . >>
SIGNAL TTT.T T T . T T . T . . >>
$
DOUN VARIATION:
1 . . 2 . . 3 . . 4 . .
KENKENI B . . B . . B . . B . .
DUN M . M . . B . B . B B .
DOUN VARIATION:
1 . . 2 . . 3 . . 4 . .
DUN B . . B . . B . . B . .
KENKENI . B B . . . . B B . . .
or . . . . B B . . . . B B
BALLET VARIATIONS
1 . . 2 . . 3 . . 4 . .
DUN/KENKENI D . K . D D K D . K . K
1 . . 2 . . 3 . . 4 . .
SANBA/KENKENI M . M . S K . K . K S . Muff on S or K
West African 6/8
This is a made-up rhythm.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
INTRO
Lead @ . T t . . . . . . . . @ . T t T . . . . . . .>>
Others . . . . . . . . B b . . . . . . . . . . B b . .>>
Lead @ . T t . . . . T t . . B . b . B . b . . S . .
Others . . . . . . . . . . . . B . b . B . b . . S . .
All come in on part 1. After 8 times, part 2 comes in. Then solo comes in.
Time 1 . . 2 . .
Accomp 1 B . S b T t
Accomp 2 S . T t B .
Accomp 3 solo
Time 1 . . 2 . . 3 . . 4 . .
Duns D . . . . S D . D S . S
var D . . . . S D . D S . S >>
K . K S . S K . K S . S
BREAK 1
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . S . T s . . S . T s . . B . b . B . b . . S . . >>
into parts
BREAK 2
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . S s S t T t S s S t T t $ . . $ . . $ . . $ . . >>
into parts
BREAK 3
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . T t S s . . T t S s . . T t S t T s . . T s . . >>
into parts
BREAK 4 (new) - first hand part can play during this

Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . T t T t T t T t T t T t >>
S t S t S t S t S t S t >>
BREAK 5 (END)
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4
Break All $ . . . . . S s S s
Yankadi
Dance of seduction for young people 15-25 years old, played in the forest.
Accompanied by Macru rhythm, which is played at 2X tempo.
Tempo SWINGS!
1 . . . 2 . . . 3 . . . 4 . . .
Break @ . T t . t . t T . S s S . . .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 B . S s B t T . B . S . B t T .
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 2 M . T t . . . . @ . @ . S s . .
Muff can also be Slap or Slap Flam
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x x . x x . x . x x . x x .
Sangba M . . . . B B . M . . . . M M .
^
1 . . . 2 . . . 3 . . . 4 . . .
Bell x . x x . x x . x . x . x . x .
Kenkeni M . B B . . . . M . B . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell x x x x x x x x x x x x x x x x
Dununba B . . B B . . B B . . B B . . B
^
Midbreak: can play 2, 4 times, etc.
1 . x . 2 . x . 3 . x . 4 . x .
Jembes B b . b B . B b . b B . [SsSs . 4 slaps, begin and end on beat
Duns B b . b B . B b . b B . S . S .

Guide to African Rhythms

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Guide to African Rhythms

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Guide to ASCII Notation

For ASCII notation to align correctly, you MUST

Son Clave (3-2)

Rumba Clave (3-2)

Son Clave (2-3)

Rumba Clave (2-3)

Haiti (Ibo, Congo)

Extra cool Samba Batucada pattern in 3/2 #1

Extra cool Samba Batucada pattern in 3/2 #2

Samba do Morro pattern built around Partido Alto in 2/3

Another 2/3 Samba

Samba da Rua pattern in 2/3

miscellaneous 2/3 samba #1

miscellaneous 2/3 samba #2

miscellaneous 2/3 samba #3

miscellaneous 2/3 samba #4

The extra-cool Samba de Roda pattern from Bahia

12/8 (6/8) Bell Patterns

6/8 Long Bell

Rhythm used to greet people to the village.

Jembe 1 SsS s . T . t . S s . s >>

Break Phrase S s T s S s . . . . . . >>

End Break T s S t S s T s S t S s >>

COOL ENDING (2003 MADOU DEMBELE)

Ballet Duns (simple)

Generic 4/4 Break: Source: Mali Young Guns

Many other parts out there...

Rhythm of the leather worker.

INTRO: CALL AND RESPONSE (BASSES)

DUN PHRASE ALONE; OTHERS CLAP

JEMBES RESPOND; DUNS KEEP GOING

JEMBES RESPOND; DUNS KEEP GOING

JEMBES RESPOND; DUNS KEEP GOING, THEN SWITCHES

dun ballet – one arrangement

or (especially when fast)

Duns follow along on final break:

Yai'm bo, Yai'm bo mama,

Serge Blanc Version:

Solo Patterns (Mali)

KUKU IVORY COAST - MADOU

Lead Standard Break Begins on 5th Muff.

Break - (Can be used for Lamba, etc.)

Famadou Konate Dun Arrangement (from CD)

Lamba (Jelidon) HistorL: from various sources (Michael Wall, etc.)

NAME OF RHYTHM: Lamban, Lamba, Lambambaa, Lanbango, Lambango, Lambang, Jali,

NAME OF RHYTHM: Macru, (Makuru, Macuru)

REGIONAL/ETHNIC GROUPS: Sousou coastal people of Guinea (Liner notes Journey

Serge Blanc Duns

Madan Dun Variations

Slow Jembe Part (Abdoul)

Jembe 1 B . T t S s B . T t S s Other versions leave out 2nd slaps

MIDBREAK: basic phrase 2-3 times

THE OLD MAN'S GONE!

Intro Break (from CD - Famadou?)

End Break - same as intro but stop.

Ending: same as intro

Ballet Duns (Madou Dembele)

Found a break some group plays for Sanja:

Didadi - Serge Blanc

Exercises - Serge Blanc

Kasa - Serge Blanc

Kawa - Serge Blanc

Konowule - Serge Blanc